Phenomenon 2 looks at how histories, collective and personal, are socially constructed and constantly renegotiated. Anafi, at its small but telling scale, is a prime example of cultural stratification, where the Apollo temple quietly serves as the foundation of an orthodox monastery, while the history of the exiles that were held in Anafi has silently cohabited with the island's local history.
What are the forces at play that actualize the visible and the discursive and construct historical formations? How can history be retold and the master narrative denaturalized? The project investigates the circulation of images through space and time and argues for a multiplicity of partial and irreducible archaeologies that create new connections and open up the world to new kinds of imaginaries.
What are the forces at play that actualize the visible and the discursive and construct historical formations? How can history be retold and the master narrative denaturalized? The project investigates the circulation of images through space and time and argues for a multiplicity of partial and irreducible archaeologies that create new connections and open up the world to new kinds of imaginaries.
PROGRAM PRESENTATION AND BOAT TOUR
IGNASI ABALLI
- A possible landscape (Anafi version), texts located in different places of Chora, 2017
- Broken Glass, digital prints, 2017
Ignasi Aballí invents and reorganizes texts, images, and processes, confronting presence and absence, transparency and opacity, visible and invisible. For Phenomenon, he has produced a new in-situ work, A possible landscape (Anafi version), that annotates the entire village with indicators to invisible things in the sky, from natural gases to satellites to geopolitical borders. In the installation Broken Glass, a glass sheet is broken to smithereens, each one individually photographed in its original place, at once irreversible fragment and reminder of an elusive whole. For the bus stop project, the artist created a colour portrait of the island by choosing four colours from an inventory.
- A possible landscape (Anafi version), texts located in different places of Chora, 2017
- Broken Glass, digital prints, 2017
Ignasi Aballí invents and reorganizes texts, images, and processes, confronting presence and absence, transparency and opacity, visible and invisible. For Phenomenon, he has produced a new in-situ work, A possible landscape (Anafi version), that annotates the entire village with indicators to invisible things in the sky, from natural gases to satellites to geopolitical borders. In the installation Broken Glass, a glass sheet is broken to smithereens, each one individually photographed in its original place, at once irreversible fragment and reminder of an elusive whole. For the bus stop project, the artist created a colour portrait of the island by choosing four colours from an inventory.
GREGORY CASTERA
- White cat, listening event (July 9th, Port), 2017
- Video program, (July 4th, Port)
Gregory Castéra curates artistic productions where art coexists with science and social engagement. For Phenomenon, he continues his research on how deaf knowledge can transform hearing by conceiving an event on sonic imaginary, where sounds newly accessible to the human ear expand the limits of the audible reality. In addition, he curates a video program exploring how images circulate and are reinvented through different sociopolitical contexts, with works by Oscar Muñoz, Haris Epaminonda, Deimantas Narcevicius, Theo Angelopoulos, Clement Cogitore, Patricia Esquivias, Laura Huertas Millán, Allora / Calzadilla.
- White cat, listening event (July 9th, Port), 2017
- Video program, (July 4th, Port)
Gregory Castéra curates artistic productions where art coexists with science and social engagement. For Phenomenon, he continues his research on how deaf knowledge can transform hearing by conceiving an event on sonic imaginary, where sounds newly accessible to the human ear expand the limits of the audible reality. In addition, he curates a video program exploring how images circulate and are reinvented through different sociopolitical contexts, with works by Oscar Muñoz, Haris Epaminonda, Deimantas Narcevicius, Theo Angelopoulos, Clement Cogitore, Patricia Esquivias, Laura Huertas Millán, Allora / Calzadilla.
PAUL FEIGELFELD
- Sirens, Symbols, Serendipity, lecture (July 5th)
- Cryptologocentrism, workshop (July 11th)
Paul Feigelfeld works on media, data politics, artificial intelligence, and future studies. For the residency, the theorist presents a lecture workshop on the origin of the Greek alphabet, Kittler's audio-archaeological expedition to find the actual Sirens and personal odysseys. He also holds a workshop on the future of writing in cryptologocentrism.
- Sirens, Symbols, Serendipity, lecture (July 5th)
- Cryptologocentrism, workshop (July 11th)
Paul Feigelfeld works on media, data politics, artificial intelligence, and future studies. For the residency, the theorist presents a lecture workshop on the origin of the Greek alphabet, Kittler's audio-archaeological expedition to find the actual Sirens and personal odysseys. He also holds a workshop on the future of writing in cryptologocentrism.
DORA GARCIA
- TRANSLATION & EXILE, performance (July 5th) and installation, 2017
- Golden Sentences (το μέλλον πρέπει να είναι επικίνδυνο), gold paint on ceramic, 2011-2017
Dora Garcia explores the political potential rooted in marginality: the outsider, the outcast and the outlaw, paying homage to anti-heroic personas. The performance TRANSLATION & EXILE, specifically conceived for Phenomenon, takes place during a day, where two performers, one a local and one a visitor, visit the island and exchange knowledge about the island through questions, translations, and notes. A publication documenting the exchange is produced by the artist. For Golden Sentences, Dora Garcia used gold paint and ceramic letters crafted by a local artisan, to inscribe the sentence “The future must be dangerous”, urging for a future based on diversity and constant questioning. For the bus stop project, another simple, yet impossible, affirmation “I always tell the truth” appears hand-written.
- TRANSLATION & EXILE, performance (July 5th) and installation, 2017
- Golden Sentences (το μέλλον πρέπει να είναι επικίνδυνο), gold paint on ceramic, 2011-2017
Dora Garcia explores the political potential rooted in marginality: the outsider, the outcast and the outlaw, paying homage to anti-heroic personas. The performance TRANSLATION & EXILE, specifically conceived for Phenomenon, takes place during a day, where two performers, one a local and one a visitor, visit the island and exchange knowledge about the island through questions, translations, and notes. A publication documenting the exchange is produced by the artist. For Golden Sentences, Dora Garcia used gold paint and ceramic letters crafted by a local artisan, to inscribe the sentence “The future must be dangerous”, urging for a future based on diversity and constant questioning. For the bus stop project, another simple, yet impossible, affirmation “I always tell the truth” appears hand-written.
MARIO GARCIA TORRES
- Once remembered…, 35mm slide, ink on paper (n.d)
- Five feet high and rising, DJ performance/lecture (July 6th).
Mario García Torres re-appropriates art history and draws inspiration from archives, incidents, secrets, in order to explore the place of art in contemporary society. In Once remembered…, the artist ‘ships’ a veiled female head from the Louvre Museum in Paris back to Anafi where it was initially found, only to have people make her travel again through postcards. For the bus stop project, posters are activated in different places in the world and in the local language each time, in Anafi, Paris, Rimini, Mexico City, creating unexpected connections through space-time. The artist will also perform a multimedia DJ lecture on rivers.
- Once remembered…, 35mm slide, ink on paper (n.d)
- Five feet high and rising, DJ performance/lecture (July 6th).
Mario García Torres re-appropriates art history and draws inspiration from archives, incidents, secrets, in order to explore the place of art in contemporary society. In Once remembered…, the artist ‘ships’ a veiled female head from the Louvre Museum in Paris back to Anafi where it was initially found, only to have people make her travel again through postcards. For the bus stop project, posters are activated in different places in the world and in the local language each time, in Anafi, Paris, Rimini, Mexico City, creating unexpected connections through space-time. The artist will also perform a multimedia DJ lecture on rivers.
LENIO KAKLEA
- Arranged by Date alphabet, dance performances, 2017
Lenio Kaklea works on codes and systems of representation through contemporary dance. The audience can serendipitously catch the dancer dancing excerpts of the work in a distance throughout the duration of Phenomenon. For the opening of the exhibition, the choreographer/dancer will perform the work Arranged by date alphabet in its entirety.
- Arranged by Date alphabet, dance performances, 2017
Lenio Kaklea works on codes and systems of representation through contemporary dance. The audience can serendipitously catch the dancer dancing excerpts of the work in a distance throughout the duration of Phenomenon. For the opening of the exhibition, the choreographer/dancer will perform the work Arranged by date alphabet in its entirety.
MARGARET KENNA
- Notes for Phenomenon, article presented by P.Pepe, I. Kerenidis (July 3rd)
Margaret Kenna has extensively written since the 1960s on sociopolitical issues pertaining Anafi. For the project, the anthropologist has written a new article discussing Anafi’s various visible and invisible “histories”.
- Notes for Phenomenon, article presented by P.Pepe, I. Kerenidis (July 3rd)
Margaret Kenna has extensively written since the 1960s on sociopolitical issues pertaining Anafi. For the project, the anthropologist has written a new article discussing Anafi’s various visible and invisible “histories”.
CHRYSANTHI KOUMIANAKI
- A band called Phaistos or Nestor or Mycenae, installation (metal cuts, magnets, fanzine), 2017
Chrysanthi Koumianaki recontextualizes signs and forms to explore the value of real and symbolic currencies, renegotiate political theories, and create imaginary archaeologies. In the installation A band called Phaistos or Nestor or Mycenae, the artist has transformed archaeological fragments from museum catalogues by keeping only the shapes of the fragments at once voiding them of content and enabling their rewriting. A number of these fragments are reproduced as black metal panels that are recomposed to form a new score. For the bus stop project these fragments reappear as a chromatic inventory of abstract forms.
- A band called Phaistos or Nestor or Mycenae, installation (metal cuts, magnets, fanzine), 2017
Chrysanthi Koumianaki recontextualizes signs and forms to explore the value of real and symbolic currencies, renegotiate political theories, and create imaginary archaeologies. In the installation A band called Phaistos or Nestor or Mycenae, the artist has transformed archaeological fragments from museum catalogues by keeping only the shapes of the fragments at once voiding them of content and enabling their rewriting. A number of these fragments are reproduced as black metal panels that are recomposed to form a new score. For the bus stop project these fragments reappear as a chromatic inventory of abstract forms.
JULIEN NEDELEC
- Hope for Digamma, installation, 2017
- Μέλαν χάος, steel, 2017
- Time Zero, rubber, 2016
- Missing time, software, 2015
Julien Nédélec creates works that are the result of linguistic and formal games, revealing the infinite potentialities of language. In the in-situ installation Hope for Digamma, he creates a Z that mirrors its surroundings on a wall outside the Gymnasio School. While Z is the 6th letter of the Greek alphabet, the roman alphabet obliterated it only to add it years later as its last letter. In Μέλαν χάος (translation: black chaos) evokes the sudden deadly darkness faced by the Argonauts before the apparition of Anafi by Apollo, in the Argonautica. Installed inconspicuously in Chora, while facing the Ftenà islets where Apollo appeared, this cartoons-like black hole reflects the moonlight in an act of self-negation. In Missing Time, the artist projects a clock of imaginary time whose starting point is the first edition of Phenomenon in 2015, while Time Zero consists of the 25 time zones depicted as rubber bands that at once preserve the length but remove the borders. For the bus stop project, a sky blue monochrome is folded on the height of the horizon, where the sky meets the sea.
- Hope for Digamma, installation, 2017
- Μέλαν χάος, steel, 2017
- Time Zero, rubber, 2016
- Missing time, software, 2015
Julien Nédélec creates works that are the result of linguistic and formal games, revealing the infinite potentialities of language. In the in-situ installation Hope for Digamma, he creates a Z that mirrors its surroundings on a wall outside the Gymnasio School. While Z is the 6th letter of the Greek alphabet, the roman alphabet obliterated it only to add it years later as its last letter. In Μέλαν χάος (translation: black chaos) evokes the sudden deadly darkness faced by the Argonauts before the apparition of Anafi by Apollo, in the Argonautica. Installed inconspicuously in Chora, while facing the Ftenà islets where Apollo appeared, this cartoons-like black hole reflects the moonlight in an act of self-negation. In Missing Time, the artist projects a clock of imaginary time whose starting point is the first edition of Phenomenon in 2015, while Time Zero consists of the 25 time zones depicted as rubber bands that at once preserve the length but remove the borders. For the bus stop project, a sky blue monochrome is folded on the height of the horizon, where the sky meets the sea.
CHRISTODOULOS PANAYIOTOU
- Untitled, icons, 2017
- Dying on stage, performance/lecture (July 7th), 2017
Christodoulos Panayiotou focuses on the identification and uncovering of hidden narratives in the visual records of history and time. In the performance-lecture Dying on Stage, he uses archival material, video, dance, to explore the notion of death on stage, both real and allegorical, and thus question historical and discursive formations. Three new icons, produced in the traditional hagiography way, remain floating, at the point when the golden coating is applied but before the apparition of the Virgin. The letter from the work Letter from Limassol that the artist wrote to the Cypriot authorities demanding the naming of a street in Limassol after an archaeologist whose extensive work in Cyprus has been forgotten by the state, is glued in the bus stop at the port of Anafi.
- Untitled, icons, 2017
- Dying on stage, performance/lecture (July 7th), 2017
Christodoulos Panayiotou focuses on the identification and uncovering of hidden narratives in the visual records of history and time. In the performance-lecture Dying on Stage, he uses archival material, video, dance, to explore the notion of death on stage, both real and allegorical, and thus question historical and discursive formations. Three new icons, produced in the traditional hagiography way, remain floating, at the point when the golden coating is applied but before the apparition of the Virgin. The letter from the work Letter from Limassol that the artist wrote to the Cypriot authorities demanding the naming of a street in Limassol after an archaeologist whose extensive work in Cyprus has been forgotten by the state, is glued in the bus stop at the port of Anafi.
ONE MILLION YEARS (ON KAWARA)
REBETIKA MUSIC NIGHT
PUBLIC PROGRAM July 2017 (PDF)
MONDAY 3
20.00 - 21.00 Residency Kick-off (Old school Main Sq, Δημοτικό σχολείο) Notes on Phenomenon, by Iordanis Kerenidis and Piergiorgio Pepe Notes for Phenomenon, text by Margaret Kenna TUESDAY 4
11.00 - 14.00 Boat tour and narration (by invitation only) 20.00 - 22.00 (Waiting Room Building, Port) Video program, curated by Grégory Castéra WEDNESDAY 5
11.00 - 17.00 (different places around the island) TRANSLATION/EXILE, performance by Dora Garcia (performers: Giannis Patiniotis and Lou Forster) 19.30 - 21.00 (Politistikos Room, Upper Square) Sirens, Symbols, Serendipity, lecture workshop by Paul Feigelfeld THURSDAY 6
22.30 - 00.00 (Mylos bar) DJ lecture by Mario Garcia Torres FRIDAY 7
19.30 - 22.00 (Old School Main Sq., Δημοτικό σχολείο) Dying on Stage, lecture performance by Christodoulos Panayiotou SATURDAY 8
19.00 - 21.00 (New School Gymnasio) Exhibition opening (Ignasi Aballi, Dora Garcia, Mario Garcia Torres, Chrysanthi Koumianaki, Julien Nédélec, Christodoulos Panayiotou) 20.00 - 20.30 Arranged by Date Alphabet, dance performance by Lenio Kaklea 00.00 - 04.00 (Argo Bar) Opening party Colourblind |
SUNDAY 9
18.00 - 20.00 (New School) Exhibition (Ignasi Aballi, Dora Garcia, Mario Garcia Torres, Chrysanthi Koumianaki, Julien Nédélec, Christodoulos Panayiotou) 19.30 - 21.00 (Waiting Room Building, Port / Κτίριο Αναμονής, Λιμάνι) White Cat, listening session / ακουστικό δρώμενο by Grégory Castéra MONDAY 10
18.00 - 20.00 (New School Gymnasio) Exhibition opening hours (Ignasi Aballi, Dora Garcia, Mario Garcia Torres, Chrysanthi Koumianaki, Julien Nédélec, Christodoulos Panayiotou) 20.00 - 21.00 (Kastro) One million years (On Kawara), Sound installation 23.30 - 01.00 (Glaros Bar) Readings and Music TUESDAY 11
18.00 - 20.00 (New School Gymnasio) Exhibition opening hours (Ignasi Aballi, Dora Garcia, Mario Garcia Torres, Chrysanthi Koumianaki, Julien Nédélec, Christodoulos Panayiotou) 22.30 - 01.00 (Mylos Bar) Rebetika music night WEDNESDAY 12 - SUNDAY 16
18.00 - 20.00 (New School Gymnasio) Exhibition opening hours (Ignasi Aballi, Dora Garcia, Mario Garcia Torres, Chrysanthi Koumianaki, Julien Nédélec, Christodoulos Panayiotou) THROUGHOUT THE PROGRAM
Arranged by Date Alphabet (excerpts), dance performances by Lenio Kaklea |
Photos : Alexandra Masmanidi