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Phenomenon 3 investigates the role of art in times of political urgency. By questioning singular points of view and naturalized concepts, art offers new ways of imagining a collective life, producing forms of social engagement, counteracting authoritarian and populist ideologies. We will be looking for strategies through art that enable encounters of differential forces and interests, circumvent constructed binary oppositions and realize the creative and political potential of the unstable in-between.
PROGRAM PRESENTATION AND BOAT TOUR
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SCREENING: Far from God by Margaret Kenna
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VIDEO NIGHT: Works by Francis Alys, Andres Baron, Detanico/Lain, bell hooks, Arthur Jafa (Jay-Z), Thodoris Prodromidis, Hito Steyerl
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EVA BARTO
- The Profitless Route, 2019
A score in nine acts for Anafi residents. To be read on a return journey by the visitors of Phenomenon 3, Anafi, July 2019
For Phenomenon, Barto has devised a series of interventions in regard to the “conquest” of the island. A score dedicated to local people of Anafi that potentially reveals itself throughout Phenomenon on and off the island. For the bus stop project, the artist systematically adds information about her project.
- The Profitless Route, 2019
A score in nine acts for Anafi residents. To be read on a return journey by the visitors of Phenomenon 3, Anafi, July 2019
For Phenomenon, Barto has devised a series of interventions in regard to the “conquest” of the island. A score dedicated to local people of Anafi that potentially reveals itself throughout Phenomenon on and off the island. For the bus stop project, the artist systematically adds information about her project.
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JASON DODGE
Jason Dodge’s work consists largely of objects found or slightly manipulated. Interested in the notion of distance and its connection with our ability to see and locate ourselves, his works act as gestures that prompt us to reflect upon the sense we establish between ourselves and our environment.
Jason Dodge’s work consists largely of objects found or slightly manipulated. Interested in the notion of distance and its connection with our ability to see and locate ourselves, his works act as gestures that prompt us to reflect upon the sense we establish between ourselves and our environment.
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DAVID HORVITZ
- For the residents of Anafi, 2019, 94 watecolors collectively made in the Aegean Sea on Roukounas beach and mailed to each permanent resident of the island
- Βλέποντάς σε να γίνεσαι ηλιοβασίλεμα, 2019, metal letters
- Βλέποντάς σε να γίνεσαι ηλιοβασίλεμα, 2019, stamp
- Untitled (Amache), 2016, sound installation
- Touching the sky with your eye, 2019, book and performance for children
David Horvitz’s artistic practice spans a range of different media including installation, photography, artist books and performances that forge public participation. Interested in the systems of circulation, Horvitz often uses websites or the postal service to produce his works that deal with and further address the juxtaposition between man-made systems and natural phenomena.
- For the residents of Anafi, 2019, 94 watecolors collectively made in the Aegean Sea on Roukounas beach and mailed to each permanent resident of the island
- Βλέποντάς σε να γίνεσαι ηλιοβασίλεμα, 2019, metal letters
- Βλέποντάς σε να γίνεσαι ηλιοβασίλεμα, 2019, stamp
- Untitled (Amache), 2016, sound installation
- Touching the sky with your eye, 2019, book and performance for children
David Horvitz’s artistic practice spans a range of different media including installation, photography, artist books and performances that forge public participation. Interested in the systems of circulation, Horvitz often uses websites or the postal service to produce his works that deal with and further address the juxtaposition between man-made systems and natural phenomena.
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FLORENCE JUNG
Florence Jung writes scenarios that infiltrate reality. Her scripted situations are built around a system of clues, absence, and rumour. Drawing from social sciences as well as literature and philosophy, her work explores the paradoxes of contemporary life, our relationship to uncertainty, and the narrative potential of suspicion. For Phenomenon, Jung has activated three scenarios:
To experience Jung63, you would need to go to Margarita’s restaurant on Klisidi beach and ask for Yovana.
For Jung69, she has hidden the contact details of four people of power in a closed room in the school. They all live in Anafi and are currently on duty.
Jung56 consists in an erased graffiti which once read ΚΑΤΙ ΛΕΙΠΕΙ (in English: something is missing).
Her poster for the bus stop project consists in a slightly modified version of the current bus schedule, which have been advanced by a few minutes.
Florence Jung writes scenarios that infiltrate reality. Her scripted situations are built around a system of clues, absence, and rumour. Drawing from social sciences as well as literature and philosophy, her work explores the paradoxes of contemporary life, our relationship to uncertainty, and the narrative potential of suspicion. For Phenomenon, Jung has activated three scenarios:
To experience Jung63, you would need to go to Margarita’s restaurant on Klisidi beach and ask for Yovana.
For Jung69, she has hidden the contact details of four people of power in a closed room in the school. They all live in Anafi and are currently on duty.
Jung56 consists in an erased graffiti which once read ΚΑΤΙ ΛΕΙΠΕΙ (in English: something is missing).
Her poster for the bus stop project consists in a slightly modified version of the current bus schedule, which have been advanced by a few minutes.
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STELIOS KALLINIKOU
- Ανέφηνεν, 2019, site specific installation, 200x700 cm
- Heron, 2017, archival pigment print, 25x35 cm
- Star gaze, 2019, nine archival pigment prints, 40x30 cm (each)
- Trailer, 2019, video (iPad, iPhone), on loop
- Cloud, 2018, archival pigment print, 30x41 cm
- Young Flamingo, 2016, archival pigment print, 30x41 cm
- View 1, 2018, archival pigment print, 40x30 cm
- Dragon fly, 2018, archival pigment print, 30x41 cm
- Flamingos, 2018, archival pigment print, 30x41 cm
- Parachuters, 2018, archival pigment print, 30x41 cm
- View 2, 2018, archival pigment print, 21x28 cm
- View 3, 2018, archival pigment print, 21x28 cm
- Radar station, 2018, archival pigment print, 40x30 cm
- Mouflon, 2019, archival pigment print, 30x41 cm
- View 4, 2018, archival pigment prints, 30x41 cm
Stelios Kallinikou approaches photography as a spatially perfomative act. An archaeologist by training, he is interested in unearthing narratives of spaces that lie beyond words and can be oriented towards intimately connecting the becoming of a place to our own becoming. He presents us with floating narratives and interrelated dialogues, which grow out of and feed into the process of photography. His images appear mythological and ar- chaeologically proto-human, connecting something primordial to the present by narrativizing the body’s connection with the earth. Worlds are constructed at an introspective, meditative pace, and then act as speculative scenarios through which the intersections between territorial and ideological notions relating to ‘landscape’ -such as space/place and time/history - are explored. For the Phenomenon 3 exhibition Kallinikou presents works from the series Star gaze (2019), Flamingo theatre (2016), Over The Horizon (2018), and Mouflon (2019)
- Ανέφηνεν, 2019, site specific installation, 200x700 cm
- Heron, 2017, archival pigment print, 25x35 cm
- Star gaze, 2019, nine archival pigment prints, 40x30 cm (each)
- Trailer, 2019, video (iPad, iPhone), on loop
- Cloud, 2018, archival pigment print, 30x41 cm
- Young Flamingo, 2016, archival pigment print, 30x41 cm
- View 1, 2018, archival pigment print, 40x30 cm
- Dragon fly, 2018, archival pigment print, 30x41 cm
- Flamingos, 2018, archival pigment print, 30x41 cm
- Parachuters, 2018, archival pigment print, 30x41 cm
- View 2, 2018, archival pigment print, 21x28 cm
- View 3, 2018, archival pigment print, 21x28 cm
- Radar station, 2018, archival pigment print, 40x30 cm
- Mouflon, 2019, archival pigment print, 30x41 cm
- View 4, 2018, archival pigment prints, 30x41 cm
Stelios Kallinikou approaches photography as a spatially perfomative act. An archaeologist by training, he is interested in unearthing narratives of spaces that lie beyond words and can be oriented towards intimately connecting the becoming of a place to our own becoming. He presents us with floating narratives and interrelated dialogues, which grow out of and feed into the process of photography. His images appear mythological and ar- chaeologically proto-human, connecting something primordial to the present by narrativizing the body’s connection with the earth. Worlds are constructed at an introspective, meditative pace, and then act as speculative scenarios through which the intersections between territorial and ideological notions relating to ‘landscape’ -such as space/place and time/history - are explored. For the Phenomenon 3 exhibition Kallinikou presents works from the series Star gaze (2019), Flamingo theatre (2016), Over The Horizon (2018), and Mouflon (2019)
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JOCHEN LEMPERT
- untitled (Owl), 2018
- Anafi (July 4, 2019, photogram), 2019
- Vitrine "Anafi", 2019
- Vanessa Atalanta migration (crossing the Mediterranean sea), 2019
- untitled (Ivy & Bee), 2019
- 1:1 der Empfindung, 2019
Jochen Lempert has been working with black-and-white photography as his primary medium. Trained as a biologist, his ongoing interest into natural eco-systems and man-made environments develops through an often comparative photography of animals, plants and other natural phenomena. The juxtaposed images question our systems of knowledge and present themselves as a challenge to the anthropocentric assumptions of perception.
- untitled (Owl), 2018
- Anafi (July 4, 2019, photogram), 2019
- Vitrine "Anafi", 2019
- Vanessa Atalanta migration (crossing the Mediterranean sea), 2019
- untitled (Ivy & Bee), 2019
- 1:1 der Empfindung, 2019
Jochen Lempert has been working with black-and-white photography as his primary medium. Trained as a biologist, his ongoing interest into natural eco-systems and man-made environments develops through an often comparative photography of animals, plants and other natural phenomena. The juxtaposed images question our systems of knowledge and present themselves as a challenge to the anthropocentric assumptions of perception.
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EILEEN MYLES
Eileen Myles came to New York from Boston in 1974 to be a poet, subsequently a novelist, public talker and art journalist. A Sagittarius, their twenty books include evolution (poems), Afterglow (a dog memoir), a 2017 re-issue of Cool for You, I Must Be Living Twice/new and selected poems, and Chelsea Girls.
For Phenomenon 3, Eileen Myles did a poetry reading on July 3rd of 13 poems that were also translated in Greek, including the poem Greece, that they wrote 39 years ago.
Eileen Myles came to New York from Boston in 1974 to be a poet, subsequently a novelist, public talker and art journalist. A Sagittarius, their twenty books include evolution (poems), Afterglow (a dog memoir), a 2017 re-issue of Cool for You, I Must Be Living Twice/new and selected poems, and Chelsea Girls.
For Phenomenon 3, Eileen Myles did a poetry reading on July 3rd of 13 poems that were also translated in Greek, including the poem Greece, that they wrote 39 years ago.
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DEIMANTAS NARKEVICIUS
- Into the Unknown, 2009
Found Film footage, transferred on to HD video (4:3). Colour, Sound, English spoken. Duration 19 min. 45 sec.
Deimantas Narkevičius, originally trained as a sculptor, has mainly been working with film and video. In his artistic practice Narkevičius examines the relationship of personal memories to political histories, particularly those of his native Lithuania. Employing documentary footage, voice-overs, interviews, re-enactments and found photographs, his films submit historical events to the narrative structures of storytelling and cinema. For the artist, history itself has become both material and methodology.
- Into the Unknown, 2009
Found Film footage, transferred on to HD video (4:3). Colour, Sound, English spoken. Duration 19 min. 45 sec.
Deimantas Narkevičius, originally trained as a sculptor, has mainly been working with film and video. In his artistic practice Narkevičius examines the relationship of personal memories to political histories, particularly those of his native Lithuania. Employing documentary footage, voice-overs, interviews, re-enactments and found photographs, his films submit historical events to the narrative structures of storytelling and cinema. For the artist, history itself has become both material and methodology.
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VITTORIO SANTORO
- ACROSS THE RIVER AND INTO THE TREES (THE WORLD NOBODY KILLED)/ΠΕΡΑ ΑΠΟ ΤΟ ΠΟΤΑΜΙ ΚΑΙ ΜΕΣΑ ΣΤΑ ΔΕΝΤΡΑ (Η ΓΗ ΠΟΥ ΚΑΝΕΙΣ ΔΕ ΣΚΟΤΩΣΕ), 2019, metal plaque, map. This work is installed on the tree at Vrisi.
- I WAS / BUT I AM, 2019, real-time activity for 2 protagonists
- Pulleys, I, 2016
- Rhinocéros/Bérenger, 2018, diptych, two colour photographs (pigment prints on fine art baryte paper), two metal frames
- Mapping / Erasing (Text on Blackboard) 2018-19, real-time activity for 3 protagonists
Vittorio Santoro's artistic practice takes the form of sound installations, sculptures or drawings. Articulated around repetition and literary forms, his body of work questions as much the inscription of the work in space and in time as the ontological inscription of the individual within the social space.
- ACROSS THE RIVER AND INTO THE TREES (THE WORLD NOBODY KILLED)/ΠΕΡΑ ΑΠΟ ΤΟ ΠΟΤΑΜΙ ΚΑΙ ΜΕΣΑ ΣΤΑ ΔΕΝΤΡΑ (Η ΓΗ ΠΟΥ ΚΑΝΕΙΣ ΔΕ ΣΚΟΤΩΣΕ), 2019, metal plaque, map. This work is installed on the tree at Vrisi.
- I WAS / BUT I AM, 2019, real-time activity for 2 protagonists
- Pulleys, I, 2016
- Rhinocéros/Bérenger, 2018, diptych, two colour photographs (pigment prints on fine art baryte paper), two metal frames
- Mapping / Erasing (Text on Blackboard) 2018-19, real-time activity for 3 protagonists
Vittorio Santoro's artistic practice takes the form of sound installations, sculptures or drawings. Articulated around repetition and literary forms, his body of work questions as much the inscription of the work in space and in time as the ontological inscription of the individual within the social space.
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PAKY VLASSOPOULOU
- Training drills/ Ασκήσεις ετοιμότητας, 2019, C-prints
- Memory of the world/ μνήμη του κόσμου, 2019, slogans written on the walls in the exiles’ self-organized dining room or school room during the 1930's.
Paky Vlassopoulou’s work is informed by the dialectics of traditional sculpture making in relation to spatial issues, objecthood, functionality and bodily experiences. From time to time, she is concerned with thematics that deal with knowledge production, history, ruins, and lately with issues revolving around the service providing industries by questioning the role of care and hospitality.
For Phenomenon 3, the artist also conceived an activity in the form of a breakfast that was held in the courtyard of the monastery.
- Training drills/ Ασκήσεις ετοιμότητας, 2019, C-prints
- Memory of the world/ μνήμη του κόσμου, 2019, slogans written on the walls in the exiles’ self-organized dining room or school room during the 1930's.
Paky Vlassopoulou’s work is informed by the dialectics of traditional sculpture making in relation to spatial issues, objecthood, functionality and bodily experiences. From time to time, she is concerned with thematics that deal with knowledge production, history, ruins, and lately with issues revolving around the service providing industries by questioning the role of care and hospitality.
For Phenomenon 3, the artist also conceived an activity in the form of a breakfast that was held in the courtyard of the monastery.
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ONE MILLION YEARS (ON KAWARA)
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REBETIKA MUSIC NIGHT
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Photos : Alexandra Masmanidi