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%VEN TODAY ART IS DEALT WITH BY MOST PEOPLE AS A BEAUTIFIED IDEALISTIC SPACE AN ESCAPE PLACE WHOSE MAIN FEATURES ARE AESTHETICS AND THE FREEDOM OF EXPRESSION !ND YET BEYOND THE NEED TO EXPRESS THEMSELVES AND COMMUNICATE AND EXPAND THE BOUNDARIES BETWEEN OBJECTIVE AND SUBJECTIVE REALITY MODERN CREATORS ARE CON CERNED WITH MAJOR EXISTENTIAL AND SOCIAL ISSUES INCLUDING THE ROLE OF PERSONAL INSIGHT SOCIAL TRUTH ECONOMIC AND GEOPOLITICAL CHANGES EN VIRONMENTAL POLLUTION DIVERSITY PERSONAL AND COLLECTIVE RESPONSIBILITY 4HE PROPOSAL ¨0ERSONAL¦0OLITICAL© BY THE TWO YOUNG CURATORS OF THE 3TATE -USEUM OF #ON TEMPORARY !RT ENDEAVORS TO EXPRESS PRECISELY THIS REASONING THIS PROPOSAL IS PRESENTED IN THE FRAMEWORK OF THE ND 4HESSALONIKI "IEN NALE AND THE TH $IMITRIA &ESTIVAL 4HIS PARTIC ULAR EXHIBITION AIMS AT FUNCTIONING LIKE A PLAT FORM FOR EXPLORING AND IDENTIFYING THE POLITICAL DIMENSIONS OF WORKS OF ART "OTH THE THIRTY SIX PARTICIPATING ARTISTS PRESENTING MODERN WORKS OR WORKS FROM THE LAST FORTY YEARS AND THEO RETICIANS WHO HAVE SUPPORTED THEM AS WELL AS THE VIEWERS OF THE EXHIBITION ARE CALLED UPON TO ¨LISTEN TO© THE 'REEK ARTISTIC REALITY AND THE RELATION THAT IT AND NOT ONLY IT MAY HAVE WITH POLITICS 0OLITICS NOT SIMPLY AS A HISTORICAL PAST AND PARTICIPATION IN OR SUPPORT TO POLITICAL PAR TIES BUT MAINLY AS AN IDEOLOGY SOCIAL STANCE A WAY OF PARTICIPATING IN THE OPERATION OF THE CITY AND AN INDICATOR OF SOCIAL CONSCIOUSNESS AND THE RELATIONS BETWEEN THE CITIZENS OF A COUN TRY )N THE NAME OF THIS EXPLORATION WORKS BY 'REEK ARTISTS ARE PRESENTED WHO HAVE LIVED AND LIVE WITHIN THE MODERN POLITICAL LANDSCAPE AND HAVE CREATED AND CREATE THEIR WORKS PARALLEL TO EVENTS AS THEY OCCUR EVENTS THAT HAVE CHANGED AND CONTINUE TO CHANGE THE SOCIOPOLITICAL PRO FILE OF THE COUNTRY AT TIMES VIOLENTLY AND AT TIMES GRADUALLY 5NDER THE SAME RATIONALE THE

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TEXTS OF THEORETICIANS WHO SUPPORTED SEVERAL ARTISTIC TENDENCIES DURING THE SAME TIME PE RIOD ARE RE PUBLISHED WHILE ARTISTIC TENDENCIES ARE ASSOCIATED WITH POLITICAL AND OTHER SUBSE QUENT CHANGES 4HE SYNERGIES AND CONNECTIONS BETWEEN PRIVATE LIFE AND ART AS AN ARTISTIC EXPRESSION OF A HIS TORICAL MOMENT A COMPLAINT PROPOSAL OR CON FLICT ESSENTIALLY TRANSFORM ARTISTIC ACTION INTO POLITICAL ACTION 4HE CURATORS OF THE EXHIBITION !RETI ,EOPOULOU AND 4HEODORE -ARKOGLOU IN SEEKING TO EXPLORE AND DISPLAY DIVERSE PERSONAL CHOICES ACTIONS AND ACTS HAVE CHOSEN TO ¨DIS CHARGE© THE EXHIBITION AREA FROM ITS TYPICAL CON TEXT SO THAT OTHER MESSAGES OF WORKS CAN ALSO COME TO THE FORE PROVIDED THAT THIS AREA DOES EXIST BEYOND ITS PURELY ARTISTIC CHARACTER AND ITS EXPECTED AND DETERMINING ROLE AS A MUSEUM "ESIDES THE DECISION TO PERFORM THE INAUGU RATION OF THE EXHIBITION ¨0ERSONAL¦0OLITICAL© ON A DATE THAT COINCIDES WITH SUCH AN EMOTIONALLY CHARGED DAY AS 3EPTEMBER TH CANNOT POSSIBLY BE SHEER COINCIDENCE )N THE FRAMEWORK OF A "IENNALE THAT LOOKS INTO THE RELATION BETWEEN WORK OF ART AND ARTISTIC CREATION IN GENERAL IN RELATION TO DAILY REALITY AND ITS MECHANISMS THE EXHIBITION ¨0ERSONAL¦ 0OLITICAL© INSISTS ON PRESENTING WORKS OF ART AS AN ACTION THAT CRITICIZES REACTS ACTS REVERSES AS A PROPOSAL AS A STANCE HENCE AS A POLITICAL EVENT WHICH USES IMAGES AND SYMBOLS FROM THE LEXICON OF ART TO ARTICULATE THE NEED TO EXPRESS ONE«S BELIEFS AND PERSONAL RESPONSIBILITY 4HIS IS THE VIEWPOINT THAT EVENTUALLY LEADS TO 2OLAND "ARTHES SPEECH IN THE #AMERA ,UCIDA ¨)T IS MY POLITICAL RIGHT TO BE A SUBJECT WITH A DUTY TO DE FEND MYSELF © 1 ) WOULD LIKE TO CONGRATULATE THE CURATORS FOR THEIR INITIATIVE AND WHOLEHEARTEDLY THANK THE OLDER AND NEWER ARTISTS AND THEORETICIANS WHO HAVE EMBRACED THIS INTERESTING AND CHALLENG ING IDEA AND ACCEPTED TO ¨EXHIBIT© THEIR HIDDEN THOUGHTS AND BELIEFS ALONGSIDE THEIR WORKS

1. Roland Barthes , ÞÈÇã¾Á¶ê À¸æÂê ã¿» á»ÅÂê ç´Á¸

1. Roland Barthes, Camera Lucida, Ed. Kedros, !THENS

ΤΟ ΠΡΟΣΩΠΟ – ΚΑΙ ΟΧΙ ΤΟ ΑΤΟΜΟ – “ ΕΙΝΑΙ Ο ΜΟΝΑ∆ΙΚΟΣ ΤΟΠΟΣ ΤΗΣ ΚΟΙΝΟΤΗΤΑΣ, Η ΜΟΝΑ∆ΙΚΗ ∆ΥΝΑΤΗ ΠΟΛΗ ”. GIORGIO AGAMBEN THE PERSON – AND NOT THE INDIVIDUAL – “ IS THE ONLY LOCATION OF COMMUNITY, THE ONLY POSSIBLE CITY ”. GIORGIO AGAMBEN

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5NDER THE TITLE ¨0RAXIS !RT IN 4IMES OF 5N ¨0RAXIS !RT IN 4IMES OF 5N ¨0RAXIS !RT IN 4IMES OF 5N !RT IN 4IMES OF 5N !RT IN 4IMES OF 5N CERTAINTY© INSPIRED AND BORROWED FROM 4ERRY %AGLETON«S BOOK !FTER 4HEORY THE ND 4HES ND 4HES ND 4HES SALONIKI "IENNALE OF #ONTEMPORARY !RT SETS A FUNDAMENTAL AIM IT INVITES THE AUDIENCE TO A PUBLIC DIALOGUE ON CONTEMPORARY ART TO IN CREASE PUBLIC AWARENESS OF SOMETHING THAT UP TO NOW HAS NOT BEEN CLEARLY DELINEATED AS AN EL EMENT OF OUR ACTIVE PARTICIPATION AS CITIZENS IN THIS COMMUNITY AND THIS CITY ) REFER TO THE NEED WE ALL HAVE TO ACCESS CONTEMPORARY CULTURE BUT ALSO TO THE NEED OF THIS CULTURE TO MAINTAIN A HIGH STANDARD WITHOUT PREACHING OR ALLEGORY AND WITHOUT EVEN ATTEMPTING TO DETERMINE WHAT IS RIGHT AND WHAT IS WRONG /N THE CONTRARY IT ASPIRES TO ENHANCE DEEPEN AND BROADEN WHAT WE CALL ¨CONTEMPORARY CUL TURE© ALWAYS BEARING IN MIND THAT CONTEMPO RARY CULTURE IS NOT EXACTLY SOMETHING THAT CAN BE TAUGHT OR LEARNED BUT SOMETHING IN CONSTANT MOVEMENT INSPIRED BY ASPECTS AND REPRESENTA TIONS OF OUR EVERYDAY LIFE ITSELF 3O IT IS NOT JUST ENTERTAINMENT SOMETHING TO HELP US SOLVE OUR PROBLEMS BUT SOMETHING THAT LEADS US TO QUES TION OUR ASSUMPTIONS AND BECOME AWARE OF AND INDEED EXPRESS WHAT WE HAD NOT PREVIOUSLY MANAGED TO FORMULATE AT THE LEVEL OF SOCIAL AND POLITICAL ACTUALITY AND REALITY &OR THIS REASON INCREASED ACCESS TO CONTEMPO RARY ART AND THE INCREASED PARTICIPATION OF ALL SOCIAL GROUPS ARE BASIC OBJECTIVES OF THE 4HES SALONIKI "IENNALE #ONTEMPORARY ART IS ANYWAY A 0RAXIS LEAVENED BY PARTICIPATION AND SEEKING SOLIDARITY IN SHARED AND BEAUTIFUL ACTIONS 4HE EXHIBITION OF 'REEK ARTISTS ENTITLED ¨0ERSONAL¦ 0OLITICAL© WAS DESIGNED AND ORGANIZED UNDER THIS PRISM BY CURATORS !RETI ,EOPOULOU AND 4HO DORIS -ARKOGLOU 4HE ND 4HESSALONIKI "IENNALE OF #ONTEMPO HE ND 4HESSALONIKI "IENNALE OF #ONTEMPO RARY !RT PUTS FORWARD SOME DIFFICULT AND OFTEN RISKY ARTISTIC PROPOSITIONS )T CALLS ON ARTISTS

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TO TALK ABOUT THE FAILURE OF POLITICS TO PROVIDE THE PEACEFULNESS JUSTICE AND PROSPERITY DE MANDED BY CITIZENS THE REJECTION OF IDEOLOGY WHOSE VOICE CANNOT BE HEARD AMONG SO MANY AMBIGUOUS AND CONTRADICTORY VIEWS AND THE FI

AND THE FI THE FI NANCIAL AND SOCIAL CRISIS WHICH MAINLY AFFECTS THOSE WHO DID NOT CAUSE IT )T WOULD BE NAtVE TO CLAIM THAT THE ROLE UNDERTAKEN BY THE ARTIST CAN PROVIDE SOLUTIONS TO THESE PROBLEMS YET ART CAN BE A ¨SALVATION© CAN REALIGN OUR LIVES RE DETERMINE OUR ATTITUDES AND DECLARE SPECIFI CALLY THAT: ¦ )F ART RESPONDS TO THE LEVELING SURFEIT OF THEO RIES AND BY MEANS OF THE WELL TRIED METHOD OF ABSTRACTION IS LED TO A CLEAR PRESENTATION OF FUNDAMENTAL IDEAS SUCH AS LOVE POVERTY PAIN JUSTICE BEAUTY THEN IT WILL TURN THEO

JUSTICE BEAUTY THEN IT WILL TURN THEO JUSTICE BEAUTY THEN IT WILL TURN THEO

BEAUTY THEN IT WILL TURN THEO BEAUTY THEN IT WILL TURN THEO THEN IT WILL TURN THEO THEN IT WILL TURN THEO RISTS CRITICS AND THE PUBLIC AT LARGE TOWARDS ESSENTIAL HUMAN PROBLEMS ¦ )F ART RESTATES DECONSTRUCTS AND TRANSFORMS THE THEORIES WHICH FROM THE « S UNTIL TODAY HAVE CLASSIFIED THE HEROIC ERA OF MOVEMENTS AND MANIFESTOS INTO SCHOOLS GROUPS PRAC

GROUPS PRAC GROUPS PRAC

PRAC PRAC TICES AND METHODS THEN ART ITSELF WILL TAKE ON ITS PROPER ROLE AS THE CLASSIFIER OF THEORY RATHER THAN BEING CLASSIFIED BY IT ¦ )F ART CONTAINS AND PROPOSES IDEAS THAT ARE AT ODDS WITH THE SOCIO POLITICAL ENVIRONMENT THEN IT WILL INSPIRE PROTEST MASS DEMONSTRA

MASS DEMONSTRA DEMONSTRA TIONS AND ¦ WHY NOT ¦ REVOLUTIONS AS WELL "UT IN ANY CASE IN ALL THESE SCENARIOS !RT CALLS ON THEORISTS TO TAKE A BREAK AND TO ENJOY WHAT IS HAPPENING IN THE WONDERFUL GAP BETWEEN TWO ERAS IN THE SPIRAL OF DOUBT BETWEEN THEORY AND ITS RETHEORISATION "ECAUSE !RT IS 0RAXIS

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ΣΥΝ∆ΕΣΤΕ ΤΟΝ ΕΑΥΤΟ ΣΑΣ ΜΕ Ο,ΤΙ ΝΙΩΘΕΤΕ ΠΩΣ ΕΙΝΑΙ ΕΙΛΙΚΡΙΝΕΣ. ΑΝΤΙΜΕΤΩΠΙΣΤΕ ΚΑΘΕΤΙ, ΑΚΟΜΗ ΚΑΙ ΤΗ ΦΙΛΙΑ ΩΣ ΠΟΛΙΤΙΚΗ ΠΡΑΞΗ. ΞΕΚΙΝΗΣΤΕ ΑΠΟ Ε∆Ω. ΤHE INVISIBLE COMMITTEE ATTACH YOURSELF TO WHAT YOU FEEL TO BE TRUE. DON’T BACK AWAY FROM WHAT IS POLITICAL IN FRIENDSHIP. BEGIN THERE. ΤHE INVISIBLE COMMITTEE

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4HE RE DEFINITION OF THEORY AND THE ORIENTATION OF ART TOWARDS LIFE ITSELF AND EVERYDAY ACTIVI TIES AS THE BEGINNING OF A NEW CREATIVE DIRECTION AND 0RAXIS 1 IS THE MAIN CONCEPTUAL FRAMEWORK WHICH WAS BASED ON THE -ARXIST 4ERRY %AGLE TON AND EMBRACED AS THE CONCEPT OF THIS YEAR«S 4HESSALONIKI "IENNALE !LONG THE WAY REALITY ITSELF CAME TO JUSTIFY THE ORGANIZERS AS THEY WERE PREPARING THE "IEN AS THEY WERE PREPARING THE "IEN AS THEY WERE PREPARING THE "IEN NALE THEY WERE CONFRONTED BOTH WITH AN INTER

THEY WERE CONFRONTED BOTH WITH AN INTER THEY WERE CONFRONTED BOTH WITH AN INTER NATIONAL ECONOMIC CRISIS AND WITH A BLATANT OUT BREAK OF THE SOCIAL AND POLITICAL CRISIS IN 'REECE 4HE EVENTS OF $ECEMBER CUT INTO EVERYTHING THAT WAS DISCUSSED AND RESEARCHED DURING THE LAST YEAR WITHIN THE FRAMEWORK OF THE "IENNALE 4HE WAY THESE FACTS COINCIDED ACTED AS A CONFIRMA TION BOTH DAILY LIFE AND THE MORE GENERAL SOCIAL AND POLITICAL STATE OF THE COUNTRY I E THE MICRO POLITICAL AND MACRO POLITICAL ASPECTS OF 'REEK REALITY CAME TO A BORDERLINE TO A CRITICALLY UN CERTAIN POINT !S A DIRECT CONSEQUENCE POLITICAL DISCOURSE IN 'REEK SOCIETY WAS REBORN %ACH PERSON SEPA RATELY AS AN INDIVIDUAL AND AS A CITIZEN QUES TIONED THE RELIABILITY OF THE SYSTEM IDENTIFIED ITS WEAKNESSES AND EXPRESSED HIS OR HER OPINIONS ABOUT IT ! LARGE NUMBER OF CITIZENS TOOK PER SONAL ACTION AND SOUGHT CHANGES AND SOLUTIONS 4HE ANALOGIES BETWEEN THESE EVENTS AND %A GLETON«S VIEWS ARE CATALYTICAL !S HE HAS SO APTLY

1. ¡Á¬¾¹Â ²ÅÂê ÃÂÊ ¸Á¸äáÅãÇ¸¾ ¼ãÁ¾¿ ÆÇ½ »Å Æ½ ÆÇ½Á ãÁáÅ¼ã¾¸ ¿¸¾ Æ·æäÈÁ¸ æã ÇÂÁ ¸Åå ÆÇ½Á ãÀã·çãÅ½ Ã¸¼¿¶Ææ¾¸ »½æ¾ÂÊÅ¼¾¿´ »Å¸ÆÇ½Å¾¶Ç½Ç¸ æã Ç½Á ÂÃÂµ¸ Â ÁçÅÈÃÂê »¾¸æÂÅäÄÁã¾ ¿¸¾ ¸ÀÀ èã¾ ÇÂ ¾ÆÇÂÅ¾¿¶ ¼µ¼ÁãÆç¸¾ ¿¸¾ ÇÂÁ ã¸ÊÇ¶ ÇÂÊ Å¾ÆÇÂÇáÀ½ê ¸Á¸äáÅã¾ Ç½Á ÃÅ å½ Èê æ¾¸ ¸Ã® Ç¾ê ÇÅã¾ê ¹¸Æ¾¿áê ¸ÁçÅÄÃ¾Áãê »Å¸ÆÇ½Å¾¶Ç½Çãê Â¾ ÀÀãê »ÊÂ ´Ç¸Á ½ çãÈÅµ¸ ¿¸¾ ½ ÃÂµ½Æ½ çã æ¾¸ áÉã¾ ¿¸¾ »¾¸äÂÅãÇ¾¿¶ ÆÇ¶ÉÂ ½ ÃÅ å½ áÉã¾ Èê ÆÇ¶ÉÂ Ç½Á µ»¾¸ Ç½Á ãÁáÅ¼ã¾¸ ÃÅ å½ ¸Å¼¶ÇãÅ¸ ÆÊÁ»áç½¿ã æã Ç½Á ãä¸ÅæÂ¼´ Ç½ê çãÈÅµ¸ê ¿¸¾ ¸ÊÇÂê Â ÂÅ¾Ææ¶ê ãÃ¾¿Å¸Çãµ ¿¸¾ æáÉÅ¾ Æ´æãÅ¸ ¸ÁÇ æãÇáÃã¾Ç¸ »¾¸Ç·ÃÈÆã »ÊÂ Ã¸Å¸ÀÀ¸¼áê ÇÂÊ ¶ÅÂÊ ½ ÃÅ å½ Èê ãä¸ÅæÂ¼´ æ¾¸ê çãÈÅµ¸ê ¿¸¾ ½ ÃÅ å½ Èê ½ ½ç¾¿´ ÆÊæÃãÅ¾äÂÅ ãÁ¶ê ¸Ç¶æÂÊ ¸Åå ´Ç¸Á Â ÃÅÄÇÂê ÃÂÊ ÆÊÁá»ãÆã Ç½Á ÃÅ å½ æã Ç½Á ãÃ¸Á ÆÇ¸Æ½ 4OM "OTTOMORE ,AURENCE HARRIS 6 ' +IERNAN 2ALPH -ILIBAND ED A Dictionary of Marxist 4HOUGHT "LACKWELL ÆÆ ©

1. 3UD[LV SUDFWLFH ! TERM REFERRING GENERALLY TO ACTION ENERGY AND ACCORDING TO -ARX TO THE FREE GLOBAL CREATIVE ACTIVITY BY MEANS OF WHICH THE PERSON ESTABLISHES AND CHANGES HIStory and him/herself. Aristotle refers to practice as one of the THREE MAIN HUMAN ACTIVITIES THE OTHER TWO WERE THEORY AND POETRY %ACH HAS A DIFFERENT OBJECTIVE THE OBJECTIVE OF PRAXIS is action itself. Practice was later linked to the application of theory, and this definition has been adopted to this day. Kant LATER FORMULATED TWO VARIATIONS OF THE TERM PRACTICE AS THE APPLICATION OF A THEORY AND PRAXIS AS THE ETHICAL BEHAVIOUR OF AN INDIVIDUAL -ARX WAS THE FIRST TO LINK PRAXIS TO REVOLUTION 4OM "OTTOMORE ,AURENCE (ARRIS 6 ' +IERNAN 2ALPH -ILIBAND ED ! $ICTIONARY OF -ARXIST 4HOUGHT, Blackwell 1988, PP ©

ÀÂ¿ÃÅÀ»¼ ¸Â Ãº ¼µ» ÀÂ åº ¼µ» µ¾µç±ÄºÃã µ½ ½µ¹áê ¼µ» ½´Ãã»ê » µ¾µ½¿¹²ãê ÄÅ¾ ¹ã¹¿¾³ÄÅ¾ èã Ä»ê µÀ³·ã»ê Ä¿Ç %AGLETON ã²¾µ» ¼µÄµ½ÇÄ»¼áê ¯ÀÅê ¿ ²¸»¿ê ã´ ÃÄ¿Æµ ÇÀ¿ÃÄ±Â»åã ¿» ÀÂ¿Ãã¹¹²Ãã»ê Äºê æãÅÂ²µê µ½½ ¼µ» º ²¸»µ º ÄáÆ¾º µ¹¾¿¿´Ãµ¾ Ä»ê Äã½ãÇÄµ² ãê ¸ã¼µãÄ²ãê Äº çÅ± ¼µ» Äº¾ ¼µæºèãÂ»¾³ÄºÄµ µ» ã²Æµ¾ äÄ Ãã» ¿´ÄÅê ± ½½Åê Ãã è²µ ¼Â²Ãº Ãã á¾µ ¿Â»µ¼³ Ãºèã²¿ Â¿¼ã»èá¾¿Ç ¾µ µ¾Ä»èãÄÅÀ»ÃÄã² µÇÄ± º ¼Â²Ãº ³ÀÅê ½½ÅÃÄã ÃÇè¶µ²¾ã» À ¾Äµ Ãã ÀãÂ»³¸¿Çê ³À¿Ç ³½µ è¿» ç¿Ç¾ èãÄµ»Æè»µ¼ º ÀÂ¿Ãá¹¹»Ãº Äºê çÅ±ê Äºê µ¾æÂÅÀ» ê º ¶»¿ À¿½»Ä»¼± ÀÂ¿Ãá¹¹»Ãº Äºê ã½½º¾»¼±ê ¦ ã»¸»¼³Äã Âµ ¦ ¼¿»¾Å¾²µê ã²¾µ» µ¾µèã¾³èã¾º ¼µ» µÀ¿Äã½ã² è²µ ãÀ»½¿¹± À¿Ç èÀ¿Âã² ¾µ µÀ¿äáÂã» ¿ÇÃ»µÃÄ» ¼áê ½´Ãã»ê 2 ã½½º¾»¼± ¼¿»¾Å¾²µ ¼µ» ¿» µÀ³·ã»ê Ä¿Ç %AGLETON ÃÇ¾µ¾Ä±æº¼µ¾ ÃÄº¾ ²¸»µ Äº¾ Â åº ¼µ» ÄµÇÄ²ÃÄº¼µ¾

CLAIMED THE APPROACHES OF THEORY AND ART IT

THE APPROACHES OF THEORY AND ART IT THE APPROACHES OF THEORY AND ART IT

AND ART IT AND ART IT SELF HAVE IGNORED LIFE AND EVERYDAY ACTIVITY FOR THE PAST FEW DECADES )N FACT THEY HAD REACHED A CRISIS A POINT OF NO RETURN )N ORDER TO CON

A POINT OF NO RETURN )N ORDER TO CON A POINT OF NO RETURN )N ORDER TO CON )N ORDER TO CON )N ORDER TO CON FRONT THIS CRISIS AS IS ALWAYS THE CASE IN PERI AS IS ALWAYS THE CASE IN PERI AS IS ALWAYS THE CASE IN PERI ODS WHEN EVERYTHING APPEARS TO BE ON THE VERGE OF COLLAPSE THE APPROACH TO LIFE TO HUMANITY THE BIO POLITICAL APPROACH TO 'REEK SOCIETY IN PARTICULAR IS UNDERSTANDABLE AND CONSTITUTES A CHOICE THAT MAY BRING ABOUT EFFECTIVE SOLUTIONS 2 'REEK SOCIETY AND THE VIEWS OF %AGLETON COINCID ED IN 0RAXIS AND IDENTIFIED WITH EACH OTHER 4HE CONCEPT

µè¶ ¾¿¾Äµê ÇÀ³·º Äµ ÀµÂµÀ ¾Å ±Äµ¾ µ¾µÀ³ äãÇ¼Ä¿ º ÃÇ¹¼ã¼Â»èá¾º á¼æãÃº ¾µ ÃÄÂá·ã» ¼µ» ¾µ ãÃÄ» Ãã» Ä»ê ¼µÄãÇæ´¾Ãã»ê Äºê ÃÄ¿ À½µ²Ã»¿ µÇÄÁ¾ ÄÅ¾ µ¾µçºÄ±ÃãÅ¾ µ» è²µ ¸» Ãºèº äÂ Ãº ¹á¾ ¾ºèµ Äºê ¸ã¼µãÄ²µê Ä¿Ç « ¦« ±Âæã ¾µ èãÄ¿ÇÃ» ÁÃã» Ä¿ çºÄ¿´èã¾¿ ¿ ÀÂ¿ÃÅÀ»¼³ ã²¾µ» À¿½»Ä»¼³ »µ äÂ Ãº ¹¾ÁÂ»èº ¼µ» Åê µ¾Ä²½º·º ã¸Âµ»Åèá ¾º ã¸Á ¼µ» ¸ã¼µÄ²ãê 3 èã À¿½½µÀ½¿´ê ÄÂ³À¿Çê æãÅÂ±Ãã»ê ¼µ» ãèÀã»Â²ãê ¿ ¼µæºèãÂ»¾³ ¼µ» Ä¿ À¿½»Ä»¼³ ½½ÅÃÄã ã²¾µ» ÃÇ¹¼¿»¾Å¾¿´¾Äµ ¸¿Æã²µ ¤¾µ ÀÂ³ÃÅÀ¿ µÀ¿Äã½ã² µÀ³ è³¾¿ Ä¿Ç Äº¾ »¸ÂÇ Ä»¼± ÃÇ¾æ±¼º è»µê ¼¿»¾³ÄºÄµê ã¾³ê ÃÇ¾³½¿Ç !GAMBEN ÀÂ¿Äã²¾ã» ¾µ µÀ¿ÃÇ¾¸áÃ¿Çèã Äº ¶¿´ ½ºÃº Äºê ¼¿»¾³ÄºÄµê µÀ³ Äº¾ ÀÂ¿ÉÀ³æãÃº Ä¿Ç µ¾±¼ã»¾ ¼µ» ¾µ ÃÄÂá·¿Çèã Äº¾ ÀÂ¿Ã¿Æ± èµê ÃÄ¿ ÀÂ³ÃÅÀ¿ Ä¿ ¿À¿²¿ ¸ã¾ ã²¾µ» ¿´Äã µÄ¿è»¼³ ¿´Äã

4AKING THE ABOVE INTO CONSIDERATION THE SPECIFIC EXHIBITION INEVITABLY TURNED TO AND FOCUSED ITS ORIENTATIONS IN THE FRAMEWORK OF SUCH QUESTS !ND A FAMOUS PHRASE BORN IN THE S¦ S CAME TO SUBSTANTIATE THE SCOPE OF THE EXHIBI TION 4HE PERSONAL IS POLITICAL ! WELL KNOWN PHRASE AND A CONCEPT THAT HAS BEEN CONSOLIDATED OVER THE DECADES3 IN MULTIPLE WAYS CONCEPTIONS AND EXPERIENCES "ESIDES THE EVERYDAY AND THE POLITICAL ARE COMMUNICAT ING VESSELS %ACH INDIVIDUAL PERSON ALONE CON %ACH INDIVIDUAL PERSON ALONE CON %ACH INDIVIDUAL PERSON ALONE CON STITUTES THE CONDITION FOR THE ESTABLISHMENT OF A COMMUNITY A GROUP !GAMBEN SUGGESTS THAT WE DISCONNECT THE WILL OF A COMMUNITY FROM THE CONDITION OF ¨BELONGING© AND TURN OUR ATTENTION TO THE FACE ¨THAT IS NEITHER PARTICULAR NOR UNI VERSAL BUT WHATEVER ; = COMMUNICATE ONLY IN THE EMPTY SPACE OF THE EXAMPLE WITHOUT BEING TIED BY ANY COMMON PROPERTY BY ANY IDENTITY© !PPARENTLY THE CHOICE OF THE TERM IS DECLARA TIVE AND DIRECTLY ILLUMINATES THE CORE OF THE CON CEPT 4HE PERSON ¦ AND NOT THE INDIVIDUAL ¦ ¨IS

2 ÂÀÀ ¸Ã¶ Ç¸ ¿Â¾ÁÈÁ¾¿ è½Ç´æ¸Ç¸ ÃÂÊ ÅÉ¾Æ¸Á Á¸ »¾¸ä¸µÁÂÁÇ¸¾ á¿»½À¸ ÇÂ ã¿áæ¹Å½ áÉã¾ æã ¿¸µÅ¾Â ÇÅ¶ÃÂ ãÁÇÂÃµÆã¾ ½ ç½Á ç¸Á¸ÆµÂÊ ÆÇÂ ¹¾¹ÀµÂ Ç½ê È´ ÆÇÂ ¶Å¾Â Â¿µæ¾¸ ¼¾¸ ÇÂ ÆÄæ¸ ÇÂ ä·ÀÂ ¿¸¾ Ç½ ¹¾ÂÃÂÀ¾Ç¾¿´ ¿¿Åãæáê 3 ¥¸Å¸¿Ç½Å¾ÆÇ¾¿¶ ãµÁ¸¾ ÇÂ ÅçÅÂ Ç½ê äãæ¾ÁµÆÇÅ¾¸ê -ARTHA 2OS ÅçÅÂ Ç½ê äãæ¾ÁµÆÇÅ¾¸ê -ARTHA 2OSLER 7ELL IS THE 0ERSONAL 0OLITICAL ¡ &EMINISM !RT 4HEORY !N ANTHOLOGY © ED (ILARY 2OBINSON "LACKWELL 0UBlishers Ltd., OxfORD ¶ÃÂÊ ÊÃÂÆÇ´Å¾åã ¶Ç¾ æµ¸ ÃÅÂÆÈÃ¾¿´ ÃÅ å½ æÃÂÅãµ Á¸ çãÈÅ½çãµ ÃÂÀ¾Ç¾¿´ ãä¶ÆÂÁ ½ ÆÊÀÀÂ¼¾¿´ »Å Æ½ æ¾¸ê ¿Â¾ÁÈÁµ¸ê ãå¸ÅÇ Ç¸¾ ¿¸¾ ¸Ã¶ ÃÅÂÆÈÃ¾¿ ¿¸ç½æãÅ¾Á è½Ç´æ¸Ç¸ Ç½ê æÂÁ »¸ê ãä¶ÆÂÁ Ã¸µÅÁÂÊæã ÊÃ¶º½ æ¸ê Ç½ »¾¸äÂÅãÇ¾¿¶Ç½Ç¸ Ç½ê æÂÁ »¸ê ¿¸¾ ãä¶ÆÂÁ ÆÊÁã¾»½ÇÂÃÂ¾Â·æã ¶Ç¾ ÇÂ »¾¿¸µÈæ¸ ÆÇÂÁ áÀã¼ÉÂ Ç½ê èÈ´ê æ¸ê ¿¸¾ Ç½ê ÃÂÅãµ¸ê Ç½ê Æ½æ¸µÁã¾ Ç¸ÊÇ¶ÉÅÂÁ¸ »¾¿¸µÈæ¸ ÆÇÂÁ áÀã¼ÉÂ Ç½ê ÃÂÅãµ¸ê Ç½ê ¿Â¾ÁÈÁµ¸ê

2. Many of the social issues that started to become apparent in $ECEMBER HAVE BEEN POSITIVELY IDENTIFIED BY !THENA !THANAsiou in her book :OI STO ORIO $OKIMIA GIA TO SOMA TO FYLO KAI TI VIOPOLITIKI ,IFE AT THE LIMIT ESSAYS ON THE BODY GENDER AND BIO politics %KKREMES 3 4HE ARTICLE BY -ARTHA 2OSLER «7ELL IS THE 0ERSONAL 0OLITICAL ¬ &EMINISM !RT 4HEORY !N ANTHOLOGY © ED (ILARY 2OBINSON "LACKWELL 0UBLISHERS ,TD /XFORD IS A typical example, in which she claims that a personal act can be CONSIDERED POLITICAL WHEN THE COLLECTIVE ACTION OF A SOCIETY DEPENDS ON PERSONAL EVERYDAY INDIVIDUAL ISSUES WHEN WE TAKE THE UNIQUENESS OF THE INDIVIDUAL INTO ACCOUNT AND WHEN WE REALIZE THAT THE RIGHT TO CONTROL OUR LIVES AND ACTIONS ALSO ENTAILS A RIGHT TO CONTROL THE PROGRESS OF SOCIETY

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Àµ¹¼³Ãè»¿ µ½½ ¿À¿»¿¸±À¿Äã ; = ¿¾µ¸»¼³ µ½ ½ ÆÅÂ²ê ÄµÇÄ³ÄºÄµ Â¿Ã¸»¿Â»Ãèá¾¿ µ½½ è³¾¿ ÃÄ¿¾ ¼ã¾³ ÆÁÂ¿ Ä¿Ç ÀµÂµ¸ã²¹èµÄ¿ê Â¿äµ¾Áê º ãÀ»½¿¹± Ä¿Ç ³Â¿Ç ã²¾µ» ¸º½ÅÄ»¼± ¼µ» äÅÄ²çã» ¼µÄãÇæã²µ¾ Ä¿¾ ÀÇÂ±¾µ Ä¿Ç ¾¿±èµÄ¿ê ¿ ÀÂ³ÃÅ À¿ ¦ ¼µ» ³Æ» Ä¿ Ä¿è¿ ¦ ã²¾µ» ¿ è¿¾µ¸»¼³ê Ä³À¿ê Äºê ¼¿»¾³ÄºÄµê º è¿¾µ¸»¼± ¸Ç¾µÄ± À³½º 4 »¸»¼³ÄãÂµ ÃÄ¿ Àã¸²¿ Äºê ÄáÆ¾ºê ¼µ» Äºê ã»¼µ ÃÄ»¼±ê ÀµÂµ¹Å¹±ê ãÀ²Ãºê ¸»µÀ»ÃÄÁ¾ãÄµ» º µ¾µ À³ÃÀµÃÄº ÃÆáÃº Äºê ¼µ½½»ÄãÆ¾»¼±ê ¸ºè»¿ÇÂ¹² µê èã Äº¾ À¿½»Ä»¼± æã è¿Âä± ¼µ½½»ÄãÆ¾»¼±ê ÀÂµ¼Ä»¼±ê ÃÇè¶ ½½ã» ã²Äã ÃÄº¾ µ¾µÀµÂµ¹Å¹± Ä¿Ç ¼¿»¾¿´ ¾¿Ç ¦ èã Äº¾ á¾¾¿»µ µÇÄ± ã²¾µ» À¿½»Ä» ¼± ¦ ã²Äã ÃÄº¾ ãÂèº¾ã²µ ¼µ» Äº¾ ¼Â»Ä»¼± Ä¿Ç µ» Âµ ¼ æã è¿Âä± ÄáÆ¾ºê áÆã» µ»ÃæºÄ»¼± ¼µ» Âµ À¿½»Ä»¼± ¸» ÃÄµÃº 5 ¿ ¾µ µ¾µäãÂæ¿´èã ÀãÂµ»ÄáÂÅ ÃÄ¿ ³Ä» Äµ À ¾Äµ ã²¾µ» À¿½»Ä»¼ ± ¾µ èµ¼Âº¹¿Â²Ã¿Çèã ÃÆãÄ»¼ èã Äº ÃÆáÃº À¿½»Ä»¼±ê ¼µ» ÄáÆ¾ºê Ä¿ æãÅÂ¿´èã À½á ¿¾ ÀãÂ»ÄÄ³ ¹»µ Äº¾ µ¼Â²¶ã»µ Ä¿ æãÅÂ¿´èã ±¸º ¸ã¸¿èá¾¿ ¿ è³¾¿ À¿Ç ¿äã²½¿Çèã ¾µ ÀÂ¿Ãæá Ã¿Çèã ã²¾µ» è²µ ÀÂ³ÄµÃº À¿Ç æãÅÂ¿´èã ³Ä» ¸² ¾ã» ¼µ» è²µ ¼µÄµ½º¼Ä»¼± µÀ ¾ÄºÃº ÃÄ¿ ç±Äºèµ ¾ º ¼¿»¾Å¾»¼± ¼µ» À¿½»Ä»Ãè»¼± À½ºÂ³ÄºÄµ ±Äµ¾ ãä»¼Ä± µ¾ èÀ¿Â¿´Ãµèã ¾µ µ¹¹²å¿Çèã Ä¿ Äá½¿ê Äºê »ÃÄ¿Â²µê Ä³Ã¿ º ÄáÆ¾º ³Ã¿ ¼µ» º À¿½»Ä»¼± æµ ÃÄµèµÄ¿´Ãµ¾ ¾µ ÇÀ ÂÆ¿Ç¾ 6 µ» Ä²À¿Äµ µÀ³ ³½µ µÇÄ ¸ã¾ áÆã» À ·ã» ¾µ ÇÀ ÂÆã»

THE ONLY LOCATION OF COMMUNITY THE ONLY POS

THE ONLY POS THE ONLY POS SIBLE CITY © 4 7ITH PARTICULAR RESPECT FOR THE DOMAIN OF ART AND ARTISTIC PRODUCTION THE INSEPARABLE RELA

THE INSEPARABLE RELA THE INSEPARABLE RELA TIONSHIP BETWEEN ARTISTIC CREATION AND POLITICS IS ALSO CONFIRMED %VERY FORM OF VISUAL ART«S PRAC %VERY FORM OF VISUAL ART«S PRAC %VERY FORM OF VISUAL ART«S PRAC TICE CONTRIBUTES EITHER TO THE REPRODUCTION OF THE COMMON MIND ¦ IN THIS SENSE IT IS POLITICAL ¦ OR TO ITS INTERPRETATION AND CRITICISM !ND THEREFORE EVERY FORM OF ART HAS AN AESTHETIC AND THUS A POLITICAL DIMENSION 5 7E BELIEVE THAT IT IS POINTLESS TO BROADEN THE DISCUSSION AND STATE THAT EVERYTHING IS POLITICAL OR TO GO INTO MORE DETAIL ABOUT THE RELATIONSHIP OF POLITICS AND ART Or TO BE MORE PRECISE WE BELIEVE THAT THESE THINGS ARE ALREADY A GIVEN 4HE ONLY THING THAT WE SHOULD ADD IS A SENTENCE THAT WE BELIEVE PROVIDES A DEFINITIVE ANSWER TO THE ISSUE ¨)F SOCIAL AND CULTURAL COMPLETENESS WERE FEASIBLE IF WE COULD TOUCH THE END OF HIS

IF WE COULD TOUCH THE END OF HIS IF WE COULD TOUCH THE END OF HIS TORY THEN BOTH ART AND POLITICS WOULD CEASE TO EXIST© 6 !ND NEITHER ONE OF THEM HAS CEASED TO EXIST 1UESTS¦/BJECTIVES !TTACH YOURSELF TO WHAT YOU FEEL TO BE TRUE $ON«T BACK AWAY FROM WHAT IS POLITICAL IN FRIENDSHIP "EGIN THERE HE )NVISIBLE #OMMITTEE

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)N THE HUMAN CULTURAL SPHERE MANY CONCERNS HAVE FOUND THE RIGHT PEOPLE TO EXPRESS THEM )N THE CASE OF THIS EXHIBITION THE ARTISTS REVIEW AS

THE ARTISTS REVIEW AS THE ARTISTS REVIEW AS PECTS OF REALITY CREATE NEW DEFINITIONS AND PRO

CREATE NEW DEFINITIONS AND PRO CREATE NEW DEFINITIONS AND PRO VIDE THEIR OWN ANSWERS HAVING CONFIGURED THEIR OWN RATIONALE WITH RESPECT TO THE PERSONAL¦PO ¦PO PO LITICAL DIMENSION OF 0RAXIS !ND SUBSEQUENTLY THE PUBLIC IS INVITED ¦ AS AN

THE PUBLIC IS INVITED ¦ AS AN THE PUBLIC IS INVITED ¦ AS AN ¦ AS AN AS AN OTHER ¨THIRD PERSON© TO REDEFINE WHAT ARTISTIC

4 ¸Ç ÇÂÁ 'IORGIO !GAMBEN ÃÅ¹ ¾ÄÅ¼Âê è¾ÅÇè¾À ¿½ê ¿Â¾Á¶Ç½Ç¸ Èê ÃÅ¶ÆÈÃÂ ÇÂ á»¸äÂê Èê ·Ã¸Åå½¡ 'OING 0UBLIC ® #OMMUNITIES 4ERRITORIES áÁÇÅÂ ·¼ÉÅÂÁ½ê áÉÁ½ê Å¾Æ¸ê &UTURA Æ 5 #HANTAL -OUFFE »µÁã¾ æ¾¸ ãÅæ½Áãµ¸ ¸¿áÅ¸¾½ ¿¸¾ Æ¸ä´ ÃÂÊ ÆÊÁ »ã¾ ¸Ã¶ÀÊÇ¸ æã Ç½ ÀÂ¼¾¿´ Ç½ê á¿çãÆ½ê ÃÅ¹ ÆÊÁáÁÇãÊå½ Ç½ê #HANTAL -OUFFE çã æÂÅä´ ÇáÉÁ½ê áÉã¾ ÃÂÀ¾Ç¾¿´ »¾ ÆÇ¸Æ½¡ æÇäÅ Àáå¸Á»ÅÂê ¾ÂÊÃ¿¾¶À½ê ¶ Ã ÆÆ © 6 ¾ ÁÁ½ê Ç¸ÊÅ¸¿ ¿½ê áÉÁ½ ¿¸¾ çãÈÅµ¸ ÇÂÊ ÃÂÀ¾Ç¾¿Â· © ãçÂ»ÂÀÂ¼µãê ãæÃÀÂ¿´ê ¾¸ ÆÊè´Ç½Æ½ ÇÂÊ Ç¸äÊÀ ¿½ ¿¸¾ Ç½ê ÀÃµ»¸ ¸Å¸æÃ æã ÇÂÁ ¾ ÁÁ½ Ç¸ÊÅ¸¿ ¿½¡ ¸Ã¶ ÇÂ Å¾Ç¾¿´ ¿¸¾ áÉÁ½ ÇãÊÉ¶ê !)#! (%,,!3

4 !CCORDING TO 'IORGIO !GAMBEN SEE 'IORGOS 4ZIRTZILAKIS «3Ociety as a person, territory as an existence”, 'OING 0UBLIC ® #OMMUNITIES 4ERRITORIES, Larisa Centre for Contemporary !RT &UTURA P 5 #HANTAL -OUFFE PROVIDES A COMPLETE AND CLEAR INTERPRETATION WHICH IS IN FULL HARMONY WITH THE LOGIC OF THE EXHIBITION SEE INTERVIEW WITH #HANTAL -OUFFE «%VERY FORM OF ART HAS A POLITICAL DIMENSION¬ TRANS !LEXANDROS +IOUPKIOLIS IDEM PP © 6 'IANNIS 3TAVRAKAKIS «!RT AND THEORY OF THE POLITICAL © )NVOLVEMENT METHODOLOGIES ! DISCUSSION BETWEEN + 3TAFYLAKIS AND %LPIDA +ARAMBA AND 'IANNIS 3TAVRAKAKIS¬ FROM Kritiki kai 4EHNI Criticism and Art ISSUE !)#! (%,,!3

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WHICH IS SOONER OR LATER STUDIED COM WHICH IS SOONER OR LATER STUDIED COM

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THE EXHIBITION«S QUES THE EXHIBITION«S QUES «S QUES S QUES TIONS ARE POSED OPENLY AND WITHOUT CONFUSION AS ARE CERTAIN ANSWERS SO AS TO FACILITATE ANY DIALOGUE ARISING 0OSSIBLE ANSWERS #ONSEQUENTLY THE EXHIBITION PRESENTS INDIVIDUAL CHARACTERISTIC MOMENTS OF ARTISTIC PRODUCTION FROM THE S TO THE PRESENT 4HEIR UNDERLYING OR OBVIOUS POLITICAL EXTENSIONS ARE SOUGHT OUT 7E ARE INVITED TO RECONCILE WITH THEM TO KEEP THEM IN OUR MIND OR ALLOW THEM TO SURRENDER TO OBLIVION 4O INVESTIGATE WHAT IDENTITIES ARE FORMED FROM THE THINGS WE SELECTIVELY REMEM BER AND THOSE WE FORGET 4HE ARTISTS ENTER AN ORBIT OF CONTROVERSY AND RE FLECTION ON THE INDIVIDUAL AND ON POWER +ARAY +ARAY +ARAY ANNOPOULOU ,YKIARDOPOULOU 0ANAGIOTOPOULOU 3TOKOU 3OTIROPOULOS 4SAMOUTI ON GLOBALIZATION AND ITS MECHANISMS :ERVOU +APON 3TYLIANI :ERVOU +APON 3TYLIANI :ERVOU +APON 3TYLIANI

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0APADOPOULOS 0AV 0APADOPOULOS 0AV

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EM KEI / NORTHERN FOLK ARTISTS / ΑΛΕΞΑΝ∆ΡΟΣ ΑΒΡΑΝΑΣ / ∆ΗΜΗΤΡΗΣ ΑΛΗΘΕΙΝΟΣ / ΚΛΙΤΣΑ ΑΝΤΩΝΙΟΥ / ΜΥΡΤΩ ΑΠΟΣΤΟΛΙ∆ΟΥ / ΜΠΑΜΠΗΣ ΒΕΝΕΤΟΠΟΥΛΟΣ / ΑΝ∆ΡΕΑΣ ΒΟΥΣΟΥΡΑΣ / ΜΑΡΙΑ ΖΕΡΒΟΥ / ΘΟ∆ΩΡΟΣ / ΧΡΙΣΤΙΝΑ ΚΑΛΜΠΑΡΗ / ΒΛΑΣΗΣ ΚΑΝΙΑΡΗΣ / ΑΝΝΕΤΑ ΚΑΠΟΝ / ΜΑΡΙΑ ΚΑΡΑΒΕΛΑ / ΕΙΡΗΝΗ ΚΑΡΑΓΙΑΝΝΟΠΟΥΛΟΥ / Α∆ΑΜΑΝΤΙΟΣ ΚΑΦΕΤΖΗΣ / ΝΙΚΟΣ ΚΕΣΣΑΝΛΗΣ / ΧΑΡΗΣ ΚΟΝΤΟΣΦΥΡΗΣ / ΛΙΛΙΑΝ ΛΥΚΙΑΡ∆ΟΠΟΥΛΟΥ / ∆ΗΜΗΤΡΗΣ ΜΕΡΑΝΤΖΑΣ / ∆ΗΜΗΤΡΗΣ ΜΠΑΜΠΟΥΛΗΣ / ΠΑΥΛΟΣ ΝΙΚΟΛΑΚΟΠΟΥΛΟΣ / ΘΕΟΦΑΝΗΣ ΝΟΥΣΚΑΣ / ΑΛΙΚΗ ΠΑΝΑΓΙΩΤΟΠΟΥΛΟΥ / ΛΕΩΝΙ∆ΑΣ ΠΑΠΑ∆ΟΠΟΥΛΟΣ / ΛΗ∆Α ΠΑΠΑΚΩΝΣΤΑΝΤΙΝΟΥ / ΤΑΣΟΣ ΠΑΥΛΟΠΟΥΛΟΣ / ΝΑΤΑΣΑ ΠΟΥΛΑΝΤΖΑ / ∆ΕΣΠΟΙΝΑ ΣΤΟΚΟΥ / ΒΑΣΙΛΕΙΑ ΣΤΥΛΙΑΝΙ∆ΟΥ / ΣΩΚΡΑΤΗΣ ΣΩΚΡΑΤΟΥΣ / ∆ΙΑΜΑΝΤΗΣ ΣΩΤΗΡΟΠΟΥΛΟΣ / ΣΟΦΙΑ ΤΣΑΜΟΥΤΗ / ΚΩΣΤΑΣ ΤΣΩΛΗΣ / ΠΑΝΤΕΛΗΣ ΧΑΝ∆ΡΗΣ / ΒΑΣΙΛΗΣ ΧΑΤΖΟΠΟΥΛΟΣ

EM KEI / NORTHERN FOLK ARTISTS / ALEXANDROS AVRANAS / DIMITRIS ALITHINOS / KLITSA ANTONIOU / MYRTO APOSTOLIDOU / BABIS VENETOPOULOS / ANDREAS VOUSSOURAS / MARIA ZERVOU / THODOROS / CHRISTINA CALBARI / VLASSIS CANIARIS / ANNETA KAPON / MARIA KARAVELA / IRINI KARAYANNOPOULOU / ADAMANTIOS KAFETZIS / NIKOS KESSANLIS / HARRIS KONDOSPHYRIS / LILLIAN LYKIARDOPOULOU / DIMITRIS MERANTZAS / DIMITRIS BABOULIS / PAVLOS NIKOLAKOPOULOS / THEOFANIS NOUSKAS / ALIKI PANAGIOTOPOULOU / LEONIDAS PAPADOPOULOS / LEDA PAPACONSTANTINOU / TASOS PAVLOPOULOS / NATASA POULANTZA / DESPINA STOKOU / VASSILIEA STYLIANIDOU / SOCRATIS SOCRATOUS / DIAMANTIS SOTIROPOULOS / SOPHIA TSAMOUTI / KOSTAS TSOLIS / PANTELIS CHANDRIS / VASSILIS HATZOPOULOS

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¨!LTHUSSER THEORETICALIZES IDEOLOGY AS A SUM OF LINGUISTIC REPRESENTATIONS IN WHICH THE SUB JECT CONSISTS OF A POLITICIZED VERSION OF ,ACAN«S DESCRIPTION OF SYMBOLIC ORDER 7HAT IS PERHAPS EVEN MORE IMPORTANT IS THE DISTINCTION BETWEEN THE SUM OF THE IDEOLOGICAL STATE MECHANISM AND ITS SUB SPHERES IN ALL SECTORS OF REPRESEN TATION AND THE EXPRESS EXCLUSION OF ARTISTIC REP RESENTATIONS AND SCIENTIFIC KNOWLEDGE FROM THE SUM OF IDEOLOGICAL REPRESENTATIONS© ¨!24 3).#% © &OSTER +RAUSS "OIS "UCH LOCH

3 ÀÂ¿Ãá¹¹»Ãº ãÇä¿Â²µê ÙÄ¿ èã¹ ½¿ ÃÀ²Ä» Ä¿ ¼ã¾ÄÂ»¼³ ÇÀ¾¿¸Åè Ä»¿ Ã¿Ç²Äµ ¶Â²Ã¼ãÄµ» ÃÄ¿ ²¸»¿ ãÀ²Àã¸¿ èã Ä¿Çê ÆÁ Â¿Çê ÇÀ¿¸¿Æ±ê ¼µ» ¼½á¶ã» Äº¾ ÀµÂ ÃÄµÃº èã Ä¿ èã¹ ½¿ ¼Âã¶ Ä» ÃÄ¿ ¼á¾ÄÂ¿ ¼µ» Ä¿ µ¾¿»ÆÄ³ ½¿ÇÄÂ³ À¿Ç ¸²¾¿Ç¾ æãµÄÂ»¼³ ÆµÂµ¼Ä±Âµ ÃÄ¿ ÆÁÂ¿ ; = Ä¿ ÃÀ²Ä» ¸ã¾ ÇÀ¿½ã²ÀãÄµ» ãÀ»äµ¾ã»Á¾ ¼µ» Ä¿²ÆÅ¾ ¿À¿Ç ä»½¿åã¾¿´¾Äµ» áÂ¹µ ä²½Å¾ ¼µ½½»ÄãÆ¾Á¾ ; =

¨)N THE LARGE HOME THE MASTER BEDROOM SUITE IS LOCATED ON THE SAME LEVEL AS THE RECEPTION HALLS AND IMPRESSES WITH THE LARGE BED IN THE CENTRE AND THE OPEN BATHROOM WHICH GIVE A THEATRICAL CHARACTER TO THE SPACE ; = THE HOME DOES NOT LACK SURFACES AND WALLS HOSTING WORKS OF ART BY ARTISTS FRIENDS ; = #ANIARIS +ESSAN LIS $ANIEL ªAVANT GARDE AND BELOVED ARTISTS« .IKI +ANAGINI $IMITRIS !LITHINOS !POSTOLOS

* Marcel Duchamp.

3 !N APPROACH TO EUPHORIA

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0OWER RELATIONS IMPOSITION SUPPRESSION AND OUTBURSTS CONSTITUTE THE STRUCTURAL ELEMENTS AND CONCEPTS OF !LEXANDROS !VRANAS« WORK !ND HE DEALS WITH THEM IN DIFFERENT WAYS AND IN DIF FERENT MEANS WHILE RETAINING ONE AXIS INTACT FROM MOVIES TO VIDEOS THESE RELATIONS AND AT TITUDES ARE DEMONSTRATED AND DECONSTRUCTED ON MULTIPLE LEVELS !VRANAS BRINGS TO THE FOREFRONT THE POLITICS OF WHAT IS VISIBLE AND WHAT IS NOT 0OWER IMPOSITION AND SUPPRESSION CAN BE PRESENT EVERYWHERE FROM THE NARROW FAMILY CONTEXT TO STATE AUTHORITIES 4HEY ARE ALL EQUALLY SUFFOCATING 4HEY CRUSH SOULS AND BODIES EXPECTATIONS AND BELIEFS IN THE SAME WAY !ND EACH OUTBURST COMES TO ACT IN EACH INSTANCE LIKE A CATALYST OFTEN LIKE A CATHARSIS AND USUALLY WITHOUT OFFERING ANY SOLUTION

¿ áÂ¹¿ À¿Ç Ãã µÇÄ± Äº¾ á¼æãÃº ÀµÂ¿ÇÃ» çã» áÆã» Ä¿¾ Ä²Ä½¿ ASIJ ¿¾¿èµÃ²µ À¿Ç µ¾µäáÂãÄµ» Ãã ãæã½¿¾Äáê À¿½»Ä¿ä´½µ¼ãê ÆÅÂ²ê ¼¿»¾áê ÃÄ¿ ½áê ± »ãÂµÂÆ²µ Ä¿Ç Â ¾ Ùã À¿½½áê ½½ãê ÆÁ Âãê ÇÀ ÂÆ¿Ç¾ µ¾ ½¿¹ãê ¸Ç¾ èã»ê ¼µ» Ãã ¼ æã ÆÁÂµ µ¾µ½µè¶ ¾¿Ç¾ ¼¿»¾³ Â³½¿ ¾µ ãÀ»¶ ½½¿Ç¾ Äº¾ Ä åº µ½Áê ± ¼µ¼Áê ¿ Â³½¿ê Ä¿Çê ã²¾µ» ÄµÇÄ³Ãºè¿ê èã Äº ¶²µ ¼µ» Ä»ê ¸Ç¾ èã»ê ¼µÄµÃÄ¿ ½±ê Äºê ½µÈ¼±ê ¸»µèµÂÄÇÂ²µê ¿ áÂ¹¿ ¾ãÄµ æµ èÀ¿Â¿´Ãã ¾µ µ¾µäáÂãÄµ» ¼µ» Ãã ¿À¿»µ¸±À¿Äã ½ ½º µ¾Ä²ÃÄ¿»Æº ¿è ¸µ ¶²µ»ºê µ¾Ä²¸ÂµÃºê ã»¼³¾µ ¼µ» ¿» ÃÇ¾ã»Âè¿² À¿Ç ÀÂ¿åã¾ã² º ½áåº ³èÅê ¸ã æµ ½½µçµ¾ µ ã»¼¿¾¿¹Âµä»¼ ÃÄ¿»Æã²µ Ä¿Ç áÂ¹¿Ç ÀÂ¿ã¼Äã² ¾¿Ç¾ ¼µ» Ä»ê ãÂèº¾ã²ãê Ä¿Ç ²µ çÅä³Â¿ê èã µÇÄ¿´ê Ä¿Çê À¿½»Ä¿ä´½µ¼ãê µÀ³ èµ´Â¿ ´äµ Ãèµ º ã»¼³¾µ è»µê Àµ¾¿è¿»³ÄÇÀºê ã½ã¹¼Ä»¼±ê è çµê èã ³½µ Äµ PARAFERNALIA Äºê »¸»³ÄºÄ ê Ä¿Çê ¹¼½¿èÀ ¹ ¾Ä»µ µ½½ ¼µ» À¿½»Ä»¼± ã¾¸ÇèµÃ²µ ¼µ Äµ¸ã»¼¾´ã» è»µ ÀÄÇÆ± Äºê Ã´¹ÆÂ¿¾ºê µÃÄ»¼±ê ¶²µê µÂ Äº ¸¿è± Äºê çÅä³Â¿Ç µÀáÆã» Äµ èá¹»ÃÄµ µÀ³ Ä»ê çÅä³Â¿Çê Äºê µÂÆµ»³ÄºÄµê ÃÄº¾ ½½ ¸µ ¼µ» ÃÄº¾ ãÂÃ²µ Â ¾ ã»ÂÅ¾²µ Äºê µÂÆµ»¿½µ¹¾ã²µê ¼µ» ÄÅ¾ ÃÇè¶¿½»ÃèÁ¾ ã¾³ê á¾¸¿å¿Ç ÀµÂã½æ³¾Ä¿ê

4HE WORK PRESENTED IN THIS EXHIBITION IS ENTITLED ASIJ A NAME REFERRING TO )RAN«S VOLUNTEERS« MI LITIA 3IMILAR FORCES ARE TO BE FOUND IN SEVERAL COUNTRIES AND THEY ASSUME A COMMON ROLE IN EACH ONE OF THEM IMPOSING ORDER 7HETHER FOR GOOD OR BAD THIS WORD IS ASSOCIATED WITH VIO LENCE AND FORCES OF SUPPRESSION OF PUBLIC PRO TESTS 9ET THE IMAGES AND ASSOCIATIONS CONJURED UP BY IT WOULD NOT CHANGE 4HE ILLUSTRATIVE ASPECTS OF THE WORK EXTEND ITS INTERPRETATION AS WELL ! FRIEZE FROM BLACK CLOTH THE IMAGE OF AN IDENTICAL CONTROLLING MASS WITH ALL THE PARAPHERNALIA OF LAW ENFORCEMENT CLUBS GLOVES AND NO SPECIAL UNIFORM DEMONSTRATES AN ASPECT OF CONTEMPORARY CIVIL VIOLENCE $ESPITE ITS STRUCTURE THE FRIEZE IS VERY DIFFERENT FROM THE FRIEZES OF ANTIQUITY IN 'REECE AND 0ER SIA )RAN 4HE IRONIC STANCE TOWARDS THE ¨LUST FOR ANTIQUITY© AND THE SYMBOLISMS OF A GLORIOUS PAST IS EASY TO DISCERN REGARDLESS OF COUNTRIES NATIONS AND HISTORIES )N THE CASE OF !VRANAS« WORK THE BLACK CLOTH TURNS INTO THE CLOTH OF ANOTHER ¨0ANATHINAIA© PROCESSION A CONTEMPORARY RATHER THAN FESTIVE ONE BUT ESSENTIALLY AN INGLORIOUS AND REPUL SIVE ONE

,OVE IS FEAR Þ¾Àæ ¾ Å¿ã¾¸ ¸Å¸ÉÄÅ½Æ½ ÇÂÊ ¿¸ÀÀ¾ÇáÉÁ½ ¿¸¾ Ç½ê ¼¿¸ÀãÅµ ´Á¸ ç¸Á¸Æ¾ »ÂÊ

ã²¾µ» ã´½ºÀÄº µ¾ãå ÂÄºÄµ µÀ³ ÆÁÂãê áæ¾º ¼µ» »ÃÄ¿Â²ãê ÙÄº¾ ÀãÂ²ÀÄÅÃº Ä¿Ç áÂ¹¿Ç Ä¿Ç ¶Âµ¾ Ä¿ èµ´Â¿ ´äµÃèµ ¹²¾ãÄµ» Ä¿ á¾¸Çèµ è»µê ½½ºê À¿ èÀ±ê Àµ¾µæº¾µ²Å¾ Ã´¹ÆÂ¿¾ºê ³Æ» ã¿ÂÄµÃÄ» ¼±ê µ½½ ¿ÇÃ»µÃÄ»¼ ¸¿åºê ¼µ» µÀ¿¼Â¿ÇÃÄ»¼±ê æã ÆÁÂµ èÀ¿Âã² ¾µ áÆã» Ä¿¾ BASIJ Äºê ¼ æã ÆÁÂµ áÆã» µÇÄ¿´ê À¿Ç ¸Â¿Ç¾ µÇÄ¿´ê À¿Ç µ¾Ä» ¸Â¿´¾ »¸áãê ¼µ» ÃÁèµÄµ À¿Ç ÃÇ¹¼Â¿´¿¾Äµ» ÇÄ³ À¿Ç ¸»µÆÂ¿¾»¼ äµ²¾ãÄµ» ¾µ ¸»µÄºÂã²Äµ» ã²¾µ» º ´ÀµÂåº è»µê ¸´¾µèºê ãÀ»¶¿½±ê Äºê ãå¿ÇÃ²µê ¼µ» Äºê Ä åºê »µ ¸´¾µèº À¿Ç æµ ¼µÄµÀ¿½ãè Ä¿¾ ãÆæÂ³ ã¾ ã²¾µ» À¿Äá µÀ³½ÇÄµ åã¼ æµÂ¿ À¿»¿ê ã²¾µ» µÇÄ³ê Â¼ã² ¾µ ÇÀ ÂÆã»

,OVE IS FEAR &ILM $URATION Courtesy of the artist and Zina Athanassiadou Gallery

%VERY COUNTRY HAS GOT ITS OWN BASIJ EVERY COUN

EVERY COUN EVERY COUN TRY HAS GOT THOSE WHO ACT THOSE WHO REACT IDE

THOSE WHO REACT IDE THOSE WHO REACT IDE

IDE IDE AS AND BODIES THAT CLASH 7HAT SEEMS TO BE TRUE THROUGHOUT HISTORY IS THAT THERE IS ALWAYS A FORCE FOR THE IMPOSITION OF POWER AND ORDER A FORCE SEEKING TO FIGHT AN EN EMY )T IS NOT ALWAYS ABSOLUTELY CLEAR WHO THAT ENEMY IS !S LONG AS ONE EXISTS

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¨/UR ART IS A WEAPON /UR ART IS OUR WEAP ON 4HE ª!RMARTE« 2ULERS ARE ITS TARGET 7E KNOW AS MUCH ABOUT THE TARGET AS EVERYONE 7E KNOW IT IS POWERFUL IT IS MOVING IT IS RUTH LESS IT CHANGES COLOURS IT IS TERRORISTIC AND SO MUCH MORE !ND YET WE KNOW ONE MORE THING THAT WE ARE NOT ALONE 4HOUSANDS OF ARTISTS STAND BY US -ILLIONS OF MEN AND WOMEN STAND BY US MEN AND WOMEN WHO CANNOT TOLER ATE ANY PATRONS !ND THIS MAKES US FEARLESS !ND THIS MAKES US ACTIVE !ND THIS MAKES US AGGRESSIVE !ND THIS MAKES US PAINT WRITE CREATE #RY OUT $/ !2-!24%© 4HIS IS AN EXCERPT FROM THE &IRST -ANIFEST OF !RMARTE DRAWN UP BY $IMITRIS !LITHINOS AND SHARED WITH THE PUBLIC PRINTED BY MIMEOGRAPH DURING THE EXHIBITION !VANGUARDIA E 3PERIMENTAZIONE !VANT GARDE AND %XPERIMENTATION ¨'ALLERIA #IVICA© -ODENA !ILTHINOS APPEARED AT THE INAUGURATION OF THE EXHIBITION WEARING THE EMOTIONALLY CHARGED BLACK HOOD WHICH IS AS SOCIATED WITH TERRORISM WHILE ANOTHER ASPECT OF HIS PROPOSAL WAS THE ILLEGAL PLACEMENT IN THE STREETS OF THE )TALIAN CITY OF POSTERS PICTUR ING THE MOTTO ¨6! &!© ¨GO FUCK YOURSELF© )N A HIGHLY POLITICIZED ERA WHEN THE MAJORITY OF IN TELLECTUALS AND ARTISTS WAS INVOLVED IN ALMOST EVERYTHING FROM THE OUTSET !LITHINOS DENOUNC ES AND COMMENTS ON THE OFFICIAL SUPPRESSIVE STATE MECHANISMS AT AN INTERNATIONAL LEVEL ¦ FROM TORTURE AND EXILE SITES DURING THE PERIOD OF DICTATORSHIP IN 'REECE TO THE ¨WHITE CELLS© OF 7EST 'ERMANY HE INVITES AND ENCOURAGES EVERYONE TO RESIST REFUTE AND REBEL AGAINST ANY FORM OF ESTABLISHMENT AND ANACHRONISM SUP PRESSION AND CONSERVATISM POWER AND CAPITAL ISM 4HE ROMANTIC¦ALLEGORICAL SPIRIT ENGAGES IN DIALOGUE WITH THE ANARCHIST PASSION THE DE SIRE FOR CHANGE THE FIGHTING SPIRIT AND THE REVO LUTIONARY MOMENTUM GOES HAND IN HAND WITH A DEEP FAITH IN THE VALUE OF COLLECTIVE BATTLES THE SEMANTIC AND COMMUNICATIVE DIMENSION WITH THE SHARP POLITICAL COMMENT THE SENSE OF RESPONSIBILITY WITH THE PRESSING NEED FOR AN

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)N HIS WORK 4HEODOROS IS ESSENTIALLY INTERESTED IN THE CATEGORY DESCRIBED AS ARTISTIC WITH WHAT EVER IT INCLUDES SCULPTURE AS A GENRE THE ARTIST AND THE VIEWER AS HISTORICAL SUBJECTS MUSEUMS AND INSTITUTIONS AS PARTICIPANTS IN THE CREATION OF MEANING (IS ARTISTIC PRESENCE IS SIGNIFICANT ¦ AND SO IS OUR DUTY BEFORE HIM ¦ BECAUSE HE MANAGES TO OVERCOME ANY FORM OF BIPOLARITY IN STRICTLY ARTISTIC TERMS FORM AND CONTENT NATURE AND TECHNIQUE OPTIMISM AND PESSIMISM SUC CESS AND FAILURE CONSERVATISM AND PROGRESSIVE NESS CREATION AND DISINTEGRATION THE PERSONAL AND THE POLITICAL 4HE WAY IN WHICH HE OVERCOMES SUCH BINARY DISTINCTIONS CONSTITUTES THE VERY MEANING OF HIS WORK QUESTIONS ARE RETAINED ON PURPOSE AS THE CRUCIAL AND STRUCTURAL COMPONENT OF HIS WORK AS WELL AS ITS RECEPTION THUS CONSTANTLY RENEW ING OUR RELATIONSHIP WITH ART AND LIFE 4HE CON TRADICTIONS BETWEEN FINITE AND INFINITE SACRED AND MUNDANE LIFE NATURE AND CULTURE ARE INTER WOVEN IN HIS WORK THUS OVERCOMING ¦ WE REPEAT ONCE AGAIN IN STRICTLY ARTISTIC TERMS ¦ THE POLITI CAL THEORIES OF ALIENATION POLITICIZING OF DAILY LIFE ETC )N THIS CONTEXT THE IMPERATIVE MODE ¦ TOGETHER WITH PROHIBITION ¦ USED IN HIS WORK !NTI 3PEC TACULAR ¦ RELINQUISHES ITS GIVEN TEM PORAL IDENTITY AND BECOMES A CONTINUOUS IMPER ATIVE IT WAS AN IMPERATIVE IN AND IT IS ALSO AN IMPERATIVE TODAY AND IT WILL BE AN IMPERATIVE TOMORROW AND PERHAPS FOR EVER (OWEVER THE CONTINUITY THAT MARKS 4HEODOROS«S DISCOURSE SURPRISINGLY ENOUGH INVITES US TO BE MORE CON CERNED AND ANXIOUS AND ACTIVELY ALERT (IS IMPERATIVE IS BOTH AN ORDER AND A GIFT IN THIS REGARD IT DOES NOT FUNCTION IN THE SAME WAY AS A COMMON IMPERATIVE WHICH SEEKS TO IMPOSE SOMETHING ON ONE LEVEL ONLY )T SEEMINGLY LIMITS OUR POSSIBILITIES BUT AT THE SAME TIME IT HOLDS OUT THE PROMISE FOR NEW ONES 4HESE NEW POS SIBILITIES FOR WHICH IT PREPARES US SOUND STRICT ALMOST THREATENING AND AT THE SAME TIME THEY ALLOW US TO BREATHE AN AIR OF FREEDOM

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6LASSIS #ANIARIS HAS NEVER LEFT 'REECE WITHOUT TAKING CARE OF IT (E HAS ALWAYS TREATED IT LIKE PARENTS TREAT THEIR CHILDREN (E HAS REPRIMAND ED IT QUESTIONED ITS ACTIONS AND LOVED IT !ND AL WAYS WHEREVER HE WAS HE MADE SURE HE COULD BE CLOSE TO IT 7ITH THE .EW 'REEK 3CULPTURE 6ENICE HE SHED LIGHT ON AN EXISTING VOID AND THE NEED OF ARTISTS TO FIND A HOME COUNTRY WHICH WOULD THROW OFF ITS OLD SYMBOLS AND BE BASED ON A NEW FORM OF SCULPTURE DIFFERENT FROM THE ALMOST QUAINT TOURIST MODEL OF ANCIENT 'REEK SCULPTURE 7ELL HAS HE MADE IT (AVING BEEN A CULTURAL IMMIGRANT HIMSELF FOR YEARS AS WERE MOST OF THE ARTISTS OF HIS GENERA TION HE RETURNED TO 'REECE IT APPEARS THAT HE STILL CARES FOR ITS STRUGGLES AS IF HE HAS TO DEAL WITH A CHILD WHO STUMBLES AND FALLS AT TIMES HURTS ITSELF GRUMBLES IS IN DESPAIR FINDS HOPE AGAIN AND CONTINUES HIS OR HER EFFORT 4HE FLAGS OF THIS EXHIBITION PACKAGED AND PLACED WITHIN EASY REACH REMAIN ENCLOSED WITHIN A CHEAP PLASTIC COVER 4HEY ARE TIED IN KNOTS MORE OR LESS TIGHT ALMOST INCAPABLE OF DEMONSTRATING WHAT THEY SYMBOLIZE 4HEY ARE A SKETCHY BUNCH OF WRAPPED UP IDEAS THEY ARE DISABLED SYMBOLS WHICH EVEN THOUGH THEY COULD CANNOT SHOW WHAT THEY REPRESENT 4HEY REMAIN COVERED IN THE DUST OF TIME TIED UP TRAPPED WITHIN AN IDENTITY WHICH IS QUESTIONED ON A DAILY BASIS AS IF THEY WERE ENCIRCLED BY MOTH BALLS WITHIN A WARDROBE ! FLAG IS THE ULTIMATE SEMIOTIC¦ICONOGRAPHIC CLIMAX AMONG NATIONAL SYMBOLS !ND YET FROM 'REEK IMMIGRANTS ABROAD TO FOREIGN IMMIGRANTS IN 'REECE THEY ALL OFTEN SEEK TO HOLD THE SAME FLAG 4HUS SYMBOLS NEED TO BE REDEFINED SINCE TIMES AND SOCIAL CONDITIONS CHANGE 4HROUGH THIS WORK #ANIARIS DOES NOT ATTACK SYMBOLS HE MERELY DISARMS THEM (E MAY ONCE LET THEM UNFOLD FROM THEIR PLASTIC COVER AND RISE UP TO THE SYMBOLIC EXPECTATIONS REQUIRED BY EACH CONDITION GENERATION AND NEED

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4HE POLITICAL IS PERSONAL 4HE ECONOMIC CRI SIS HAS MADE AMATEUR ECONOMISTS OF ALL OF US WHICH GIVES NEW MEANING TO THE TERM HOME ECONOMICS !NNETTA +APON«S INSTALLATION "OUGADA ,AUNDRY CONSISTS OF A NUMBER OF RECTANGULAR LINEN PAN ELS EACH APPROX x INCHES OR x CM SILK SCREENED BY HAND WITH IMAGES OF INTER NATIONAL CURRENCY $OLLARS %UROS 9ENS 9UENS '" 0OUNDS AND 3WISS &RANCS 4HE PIECES ARE HUNG ON LAUNDRY LINES WITH WOODEN CLOTHESPINS %ACH CURRENCY IS PRINTED IN AN EDITION OF )N ADDITION TO THE CURRENT ECONOMIC CRISIS THE INSTALLATION MAKES REFERENCE TO MONEY LAUN DERING THE USUALLY INVISIBLE AND UNPAID LABOR OF WOMEN AND THE RELATIVITY OF THE VALUE OF MONEY AND LABOR ACROSS NATIONAL BORDERS 3PECIFICAL LY THE INSTALLATION QUESTIONS EASY ASSUMPTIONS ABOUT THE DIFFERENCE BETWEEN ARTISTIC LABOR AND HOUSE LABOR COLLAPSING THE TWO TOGETHER AND IMPLICITLY DOMESTICATING THE MUSEUM BY FORE GROUNDING THE HANGING LAUNDRY WHICH IS NOR MALLY HIDDEN IN THE BACK BALCONY IN THE FRONT AND CENTER )N A FURTHER IRONIC TWIST THE WORK IS HUNG /543)$% THE MUSEUM IN AN AMBIGUOUS

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; = 7HAT IS AT STAKE IN THE DEPICTION OF PRAYER IS SOMEHOW FAMILIAR TO THE TASK OF THE "YZANTINE AND )SLAMIC ICON TO DEPICT THE UNDEPICTABLE )N BYZANTINE ICONOGRAPHY THE SAINT MUST ENTER THE FALSE WORLD OF REPRESENTATION WITHOUT BEING AL TOGETHER AFFECTED BY IT ,IKEWISE THE PICTURES BEFORE YOU ARE TRYING TO TRANSFORM THEMSELVES INTO ICONS THAT DEPICT THE INVISIBLE AND SEEM INGLY UNMEDIATED MYSTERY OF PRAYER (OWEVER IT IS NOT MERELY THE TEMPTATION OF REPRESENTA TION THAT BRINGS THOSE TWO ATTEMPTS TOGETHER THE ¨DESIRE TO SEE© THAT *OHN OF $AMASCUS AT TRIBUTES TO THE $EVIL HIMSELF WHILE CONTRASTING IT WITH THE POWER OF COMMUNION THAT LIES WITHIN THE ICON 7HAT RENDERS THOSE UNDERTAKINGS QUITE SYMMETRICAL IS RATHER THE ISOMORPHISM THE DIRECTNESS OF THE RELATIONSHIP BETWEEN THE MEDIUM AND ITS OBJECT )N OTHER WORDS !DA MANTIOS DIDN«T SHOOT HIS PICTURES IN !GION /ROS AND POST THEM ON A GALLERY WALL IN ORDER TO BRING US SOME MYSTIFYING MOMENTS OF ASCETIC MEDI TATION THAT WOULD BE A TRULY UNORIGINAL ¨SIN© )NSTEAD HE CHOSE TO STAY HERE IN THE CITY THE MOTHERLAND OF PHOTOGRAPHY AND PLACE THE PI OUS BELIEVERS NEAR THE AIR CONDITION OF A CHURCH MAKE THEM SIT ON SOME PLASTIC CHAIR INSIDE THE HOLY TEMPLE AND CATCH THEM PRAYING IN FRONT OF SOME FAINTED WALL PAINT ; =

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"EING INFLUENCED BY THE METHODS OF EXPRESSION AND THE SPIRIT OF .OUVEAU 2EALISME WHICH IS DEFINED BY THE MISAPPROPRIATION OF REALITY .IKOS FEELS THE NEED TO ABOLISH THE PAINTING ELEMENTS OF THE SYNTHESIS TO THE BENEFIT OF ¨READY MADE© WORKS #ONSTRUCTIONS MADE USING CRUMPLED PAPER METAL MESH AND THE PRINTS ON CLOTH PRE VIOUSLY ATTACHED TO PLASTER ARE NOW DETACHED FROM THE TWO DIMENSIONAL WALL AND RELEASED INTO SPACE ¨'ESTURES© ¨-ESHES© THEY ARE LAID DOWN OR SUSPENDED THUS CLAIMING THEIR AU TONOMY AS ¨READY MADE© SCULPTURES UNLEASHED FROM THEIR PAINTING ORIGINS !SPIRING AT GIVING PRIORITY TO THE OBJECTIFICATION OF A GESTURE THE CRUMPLING OF THE GESTURE IN STEAD OF TO THE OBJECT PER SE HE SEEKS PLIABLE DISPARATE POOR MATERIALS ABANDONED EXPRES SIONS OF ANGUISH THAT LIKE MEMORY VEHICLES TRANSPORT THE TRACES OF OLDER WORKS UNWORTHY MATERIALS THAT ALLOW INGENIOUS INTERVENTIONS METAL MESH THREAD WOOD GAUZE ELECTRIC ITY CABLES DAMAGED METAL OBJECTS ; = 4RANS PARENT ETHEREAL MESH PLASTERED SPONTANEOUS GESTURES SOILED CLOTH WIRES DETACHED POSTERS AND PLASTERED SACS LIKE TOYS OF MOVEMENTS REFUSING ANY PAINTING INTERVENTION INTENSIFY THE OBJECTIFICATION OF THE MISAPPROPRIATING GESTURE WHICH TRAPS THE WOUNDED CONTINUOUSLY AROUSED MEMORY #OLOUR TURNS WHITE THE STROKE OF THE BRUSH IS NEUTRALISED AND DISAPPEARS ; =

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(ARRIS +ONDOSPHYRIS UNDERMINES ANYTHING WE TAKE FOR GRANTED AS WE WALK THROUGH AN EXHIBITION 7ITH A SCULPTED BUST MOUNTED ON THE GROUND HE URGES US TO VIEW TRAFFIC IN AN ALTERNATIVE WAY AS A CYCLICAL MOVEMENT BETWEEN DIFFERENT POINTS WITHOUT THERE NECESSARILY BEING A DES

WITHOUT THERE NECESSARILY BEING A DES WITHOUT THERE NECESSARILY BEING A DES TINATION AND A CHOSEN SPEED ! TECHNOLOGICAL SYMBOL OF TRAFFIC IS PINNED ON THE BUST A PLANE !ND YET IT IS BUILT FROM CEMENT A MATERIAL THAT AUTOMATICALLY SUSPENDS ANY NOTION OF FREEDOM OF MOVEMENT AND ON THE CONTRARY INTENSIFIES THE SENSE OF A SUFFOCATING IMMOBILITY -EANWHILE A SERIES OF DRAWINGS EMERGES WITH THE AIM TO ¨DISRUPT© WHATEVER PEOPLE VIEW AT THE EXHIBITION $RAWINGS ARE PINNED JUST LIKE THE PLANE AMONG THE OTHER WORKS THEY DELIB AMONG THE OTHER WORKS THEY DELIB AMONG THE OTHER WORKS THEY DELIB THEY DELIB THEY DELIB ERATELY FUNCTION LIKE PARASITES AND SPREAD LIKE A FUNGUS 4HEY MOVE LIKE TRAFFIC 4HESE ARE DRAWINGS MADE USING THE INK OF A BALL POINT PEN A COMMON EVERYDAY OBJECT /N THE WHOLE THEY COPY PICTURES FROM NEWS

THEY COPY PICTURES FROM NEWS THEY COPY PICTURES FROM NEWS PAPERS AND OTHER PRINT OUTS 4HEY DEPICT A SERIES OF SELECTED STORIES OF THE PAST YEAR PRESENTED ON A SECOND READING IN AN EXPRES SIONISTIC WAY 4HE ORIGINAL STORY IS DISGUISED AND ASSUMES THE EMOTIONALLY CHARGED CHAR ACTER THAT THE ARTIST CHOOSES TO ATTRIBUTE TO IT 3OME OF THESE EVENTS TOOK PLACE IN 'REECE SOME ELSEWHERE 9ET ALL OF THEM ARE INTERESTING BOTH POLITICALLY AND SOCIALLY FOLLOWING THE AS

FOLLOWING THE AS FOLLOWING THE AS SESSMENT OF THE JOURNALISTS WHO SELECTED THEM ! POSTERIORI +ONDOSPHYRIS UNDERTAKES TO EVAL UATE THEM THROUGH HIS OWN EYES TAKE THEM INTO HIS POSSESSION AND ALTER THEM CONCEPTUALLY LIKE DRAWINGS OF A MODERN TYPE OF REALISM )N THE HISTORY OF 'REEK ART THE DEPICTION OF RE

THE DEPICTION OF RE THE DEPICTION OF RE AL EVENTS THROUGH PAINTING FUNCTIONING LIKE A RECORD LIKE A DOCUMENTARY IS VERY RARE 4HE REASONS FOR THIS MAY BE INTERPRETED IN DIFFER ENT WAYS BY EACH ONE OF US 7HAT IS IMPORTANT THOUGH IS THAT REALISM NEVER CEASES TO HIDE AN IMPLICIT COMMENT WHICH IS OPEN TO VIEWERS« EYES AND JUDGMENT

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!NY IMAGE REPRESENTING OR COPYING REAL EVENTS IS EXPOSED TO REALITY ITSELF ESPECIALLY IF IT IS NOT A DIRECT PHOTOGRAPHIC DEPICTION BUT IS RATHER REN DERED IN A SUBJECTIVE MANNER BY AN INDIVIDUAL PAINTER SUBJECT TO HIS OWN INTRICATE EXPRES

SUBJECT TO HIS OWN INTRICATE EXPRES SUBJECT TO HIS OWN INTRICATE EXPRES SIVE IMPULSES )N RAISING INEVITABLE QUESTIONS HE EVENTUALLY EXPECTS VIEWERS TO COME UP WITH AN INTERPRETATION USING THEIR EYES AND MINDS 6IEWERS ARE THUS EXPECTED TO ¨MAKE THEMSELVES COMFORTABLE© AND REPLY TO THESE QUESTIONS

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4HE ENLARGEMENT OF OBJECTS AND FORMS IN PAINT ING AND SCULPTURE IS A COMMON PRACTICE THAT HAS EXISTED AT LEAST EVER SINCE THE TH CENTURY "OTH IN 3URREALISM AS WELL AS IN 0OP !RT THERE WERE ARTISTS WHO PRESENTED EXCESSIVELY LARGE EVERYDAY OBJECTS IN SEEKING TO GENERATE AN UN FAMILIAR AND UNCANNY ATMOSPHERE OR SIMPLY MAKE A DIRECT COMMENT ON ADVERTISING TELEVI SION AND POSTERS 4HE CHANGE IN SCALE AND SIZE OF FORMS WHICH WOULD OTHERWISE BE REGARDED AS FAMILIAR EVERYDAY OBJECTS OBVIOUSLY ALTERS OUR PERCEPTION OF SUCH FORMS AND EVENTUALLY SHAPES OUR FEELINGS TOWARDS THEM ACCORDINGLY 4HROUGH HIS SCULPTED OBJECTS BUT MAINLY THROUGH THE LARGE SIZED POLICE CAPS HE USUALLY PRESENTS IN CONJUNCTION WITH OTHER CREATIONS MADE FROM RUBBER POLYESTER AND METAL ,EO NIDAS 0APADOPOULOS ALTERS THE SIZE SCALE OF A FAMILIAR ¨HAT© THUS ADDING AUTHORITATIVE VIOLENT AND DANGEROUS DIMENSIONS TO THIS PARTICULAR SYMBOL OF LEGAL ORDER AND STATE AUTHORITY (E USES CAPS AS INDIVIDUAL ENTITIES AS INDIVIDUAL COMPONENTS OF A BROADER STRUCTURE OR LIKE THE ATRE SEATS OR CAPS SUSPENDED ON CONVEYOR BELTS OR EVEN PLACED ON THE WALL ALONGSIDE A SMALL LADDER THAT LEADS TO THEM JUST LIKE IN THE WORK OF THE EXHIBITION ! RETRACTABLE IRON LADDER LIKE THE ONES OFTEN USED BY WORKERS AT BUILDING SITES OR ANYONE UN DERTAKING MANUAL WORK FOLDED SO THAT NO ONE MAY ACCESS IT LEADS TO A POLICE CAP WHICH IS NOT BLACK THIS TIME LIKE ALL THE REST BUT ALMOST WHITE 7HILE CREATIONS WITH LADDERS AND CAPS UP UNTIL NOW USED TO PRESENT AN OVERALL IMAGE OF THE WORK THAT WAS STRICTLY CLEAR AND DREADFULLY POLISHED IN THIS PARTICULAR WORK THERE IS DUST AND DIRT 4HE BLACK LADDER USED IN THE PREVIOUS WORKS UNFOLDED IN FRONT OF VIEWERS HAS NOW BEEN REPLACED BY A DIRTY METALLIC FOLDED AND RE TRACTED ONE 4HE LADDER A SYMBOL OF 0ARADISE BUT AT THE SAME TIME A POWERFUL MANIFESTATION OF SOCIAL PRESTIGE AND GROWTH LEADS TO AN OVERSIZED SYM BOL OF STATE SUPPRESSION THE ARTIST CRITICIZES

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3INCE THE END OF THE « S ¦ WHEN SHE PRESENTED HER FIRST PERFORMANCES ¦ UP UNTIL TODAY ,EDA 0APACONSTANTINOU HAS BEEN SYSTEMATICALLY WORKING ON DECOMPOSING AND RADICALLY REAP PRAISING BASIC CONCEPTS INCLUDING RELIGIOSITY AND EROTICISM WHILE VERY CONSPICUOUSLY SEEKING TO INTERTWINE THE TWO WITH THE HUMAN BODY )N HER WORK 6OTIVE ;A PROFOUNDLY RELIGIOUS COMMENT OF UNSPECIFIED DOGMA= OF IN THE 0RIVATE 3TRUCTURE AND 2ITUAL OF THE SAME YEAR AS WELL AS IN "ITE OF SHE MARKEDLY ACKNOWLEDGED HER INTENTION TO BUILD A NEW HERETIC MYTHOLOGY THAT WOULD BE FREE FROM THE IMPOSED #HRISTIAN CENTERED AND %UROPEAN CENTERED NARRATIVES ON PERMITTED WAYS OF EXPRESSING SEXUALITY AND THE RESPECTIVE PRACTICES OF SUPPRESSION AND LIMIT SETTING )N REMINISCENCE OF THE ATMOSPHERE OF THAT TIME 3ALLY 0OTTER ASSESSES THE COURAGE OF THE PERFORMATIVE ACTS PRESENTED BY ,EDA ¨4HE ENORMOUS CROSSES REMINDED ONE OF THE CROSSES THROUGHOUT THE ENTIRE HISTORY OF #HRISTIANITY YET AS THEY WERE MADE OF PLASTIC THEY SEEMED ALMOST DISTASTEFUL AND VIOLENTLY ADAPTED TO THE TWENTIETH CENTURY )N CONJUNCTION WITH THE NAKED BODIES THEY BROUGHT AN AIR OF BLASPHEMY WITH THEM 4HIS WAS A DANGEROUS FIELD AN ASPIRING AND AMBITIOUS ONE©

,EDA 0APACONSTANTINOU«S WORK BELONGS HIS TORICALLY TO THE MOST PIONEERING AND INNOVATIVE PROPOSALS TO EXTEND THE EXPRESSIVE LIMITS OF THE BODY IN THE ART OF PERFORMANCE )N 6OTIVE THE SHAPE OF THE CROSS DELINEATES THE CEREMONIAL SYMBOLISM OF THE NAKED FEMALE BODY THROUGH THE MALE PERFORMER AND IT REAPPEARS IN THE SEG MENTATION OF THE FRUIT AS A STRUCTURAL COMPO NENT OF THIS CONCEPTION 4HE WORK IMPLIES BY WAY OF MILD ALLEGORICAL AND POETIC MEANS THE MATERIAL DIMENSION OF EROTIC CONTACT FERTILITY AND FRUIT BEARING WITHOUT HOWEVER DESCENDING TO MERELY DESCRIPTIVE NARRATIVES

6OTIVE µÁÇãÂ º½ä¾¸¿´ æãÇ¸äÂÅ ¸Ã¶ SUPER »µÉÈê ´ÉÂ ¾ Å¿ã¾¸ ì ¸Å¸ÉÄÅ½Æ½ ÇÂÊ ¿¸ÀÀ¾ÇáÉÁ½ ¿¸¾ Ç½ê ¼¿¸ÀãÅµ !NTONOPOULOU Art 6OTIVE 6IDEO DIGITAL COPY FROM super-8 film, silent $URATION ì Courtesy of the artist and Antonopoulou Art Gallery

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)N -ARINA !BRAMOVIC PRESENTED HER WORK "ALKAN %ROTIC %PIC A PRODUCT OF METICULOUS RESEARCH ON THE FUNCTIONS OF EROTICISM IN THE POPULAR CULTURE OF THE "ALKANS EVER SINCE THE TH CENTURY UP UNTIL TODAY 7ITH A STYLE AND LAYOUT MARKED BY ACADEMIC DECORUM SHE EX PLAINS HOW REPRODUCTIVE ORGANS WERE USED AS A MEANS TO PREVENT ILLNESSES NATURAL DISASTERS AND EXTERNAL ATTACKS )N THE COURSE OF A DIFFI CULT CHILDBIRTH THE MAN WOULD MAKE THE SIGN OF CROSS WITH HIS PHALLUS ON THE WOMAN«S CHEST IN ORDER TO PROTECT HER FROM THE DANGERS OF GIVING BIRTH TO A CHILD WHILE MEN WOULD MASTURBATE ON THE SOIL IN SEEKING TO INCREASE THE FERTILITY OF THEIR LAND 4HE SCENES ARE DESCRIBED AND THEN DRAMATIZED 4HE WORK TRIGGERED A HOST OF RE SPONSES BOTH POSITIVE AND NEGATIVE AND FUELLED THE OLD DEBATE ABOUT THE RELATION BETWEEN ART¦ PORNOGRAPHY "Y VIRTUE OF HER OUTSTANDING SKILLS IN THE FIELD OF PERFORMANCE -ARINA !BRAMOVIC ¨CASHED OUT© THE CHARMING INFLUENCE EXERCISED ON THE WESTERN GAZE BY THE ¨CRUDE© ¨PRIMITIVE© "ALKAN MOTHER OF CIVILIZATION ,EDA 0APACON STANTINOU DECADES EARLIER USING MUCH SIMPLER CONCEPTUAL MEANS MANAGED TO TRANSFORM HER BODY INTO A CANVAS FOR ARTISTIC CREATION WITHOUT SUCCUMBING TO SHOW OFF ATTEMPTS REPRODUC TIONS OF CLICHm REPRESENTATIONS AND PROJECTION OF ¨LOCAL PECULIARITIES© 4HAT IS WHY ) BELIEVE HER WORK IS MARKED BY A COURAGEOUS AND AT THE SAME TIME PROFOUNDLY DECENT TREATMENT OF THE BODY AS A NEW FIELD FOR THE SACRED WITH A UNI VERSAL CONTENT

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! LONG TIME AGO IN THE !MERICAN ARTIST #LAES /LDENBURG WROTE ¨4HE ARTIST IS DISAP PEARING .O ONE KNOWS WHERE HE HAS GONE (E LEAVES HIS MARK HERE AND THERE (E APPEARS IN THIS NEIGHBORHOOD !ND THE NEXT MOMENT !S IF BY A MIRACLE !T THE OTHER END OF TOWN !CTU ALLY YOU SENSE HIM RATHER THAN SEE HIM 2EBEL DRUNKARD TENNIS PLAYER CYCLIST !ND ALWAYS RE FUSING VIOLENTLY TO ADMIT THAT HE DID IT %VERYONE GIVES A DIFFERENT DESCRIPTION /F THE CRIMINAL© -ANY YEARS LATER IN ANOTHER COMPATRIOT OF THE ARTIST 7ILLIAM .ELSON #OPLEY SAID THAT ¨3URREALISM WAS SOMETHING MUCH MORE THAN A SIMPLE ART MOVEMENT )T WAS REVOLUTIONARY ¦ IN THE WORST POSSIBLE WAY )T WAS SOMETHING AN ARCHIC )T PUT YOU ON THE EDGE OF THE BRANCH AND TAUGHT YOU HOW TO CUT THE BRANCH BEHIND YOU 7HY DOES THE ARTIST FEEL COMPELLED TO FOOL PEO PLE MAKING THEM BELIEVE THAT HE IS RESPECT ABLE 7HY IS THERE THIS PRETENSE OF RESPECTABIL ITY )N REALITY WE ARE DANGEROUS /UR MOTIVES ARE REALLY BAD )F PEOPLE ONLY KNEW WHAT GOES ON IN OUR HEADS THEY WOULD THROW US ALL IN JAIL 4O BE AN ARTIST IS THE CLOSEST THING TO BEING A CRIMINAL &OR BOTH OF THEM SOCIETY IS A STRAIN *UST THINK HOW MANY TERRIBLE IDEAS THE ARTIST GETS AWAY WITH ONLY BECAUSE NO ONE READS THEM CAREFULLY BELIEVING IT IS ART !RT IS AN ANTI CA REER AN ANTI SOCIAL EXPERIENCE© )N SPITE OF THE FACT THAT #OPLEY HAD OUT OF NE CESSITY FOUGHT IN THE 3ECOND 7ORLD 7AR AS MANY $ADAISTS HAD DONE IN THE &IRST HE NOUR ISHED A DEEP ANTI MILITARISTIC PHILOSOPHY WHEN HE SAID WITH HUMOR THAT ¨THE 5NKNOWN 7HORE IS JUST AS IMPORTANT AS THE 5NKNOWN 3OLDIER "OTH HAVE BEEN $%#%)6%$ 7HOEVER LETS HIM SELF GET KILLED IN A WAR DESERVES A MONUMENT TO HIS STUPIDITY )T IS AS MEANINGLESS AS BEING KILLED IN A CAR ACCIDENT© (OWEVER ASIDE FROM US THE ¨IMAGINARY CRIMI NALS© CERTAIN OTHERS HAVE ACTUALLY COMMIT TED CONTINUOUS CRIMES AGAINST HUMANITY IN

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&OR 6ASSILIEA 3TYLIANIDOU ARTISTIC CREATION IS A CONTINUOUS PROCESS OF CONFRONTATION WITH PUBLIC AND PRIVATE HISTORY THAT IS PUBLIC AND PRIVATE SPACES 3TYLIANIDOU WORKS AS A VIDEO AND INSTAL LATION ARTIST ALSO USING RELATED ARTISTIC MEDIA SUCH AS TEXT AND SOUND IN HER WORKS 3TYLIANI DOU ADDRESSES FURTHER THEMES IN HER WORK SUCH AS FAMILY POWER AND LANGUAGE )N DOING SO SHE CREATES A RICHLY ASSOCIATIVE MODEL FOR UTOPIAN HISTORICAL REVISION THAT CHALLENGES US TO RE CYCLE AND RE CONSTRUCT ONES OWN PRESENT WITHIN ONES PERSONAL HISTORY )- 0!2+?) ,IE TO (ISTORY?,ET S BUILD YOUR BEAU TIFUL TOWER YOU CHARMING BOYð ¦ IS THE PERFORMANCE OF A PLAY IN FRONT OF A VIDEO CAMERA 4HE PLAY TAKES PLACE IN A PARK BEHIND THE HIGH RISE OF THE !LLIANZ BUILDINGS IN "ERLIN )T IS A PERFORMANCE COLLAGE BETWEEN TWO PERSONS AND A CHOIR ! THREEFOLD DYNAMIC EVOLVES BE TWEEN THE SPEAKER THE HIGHER AUTHORITY AND THE PUBLIC 4HE SPEAKER THE ARTIST RECITES A TEXT AC COMPANIED BY CUT OUTS FROM CURRENT NEWSPA PERS POLITICAL SPEECHES ! TOWER IS ERECTED FROM SCREWS AND CHEWED CHEWING GUM 4HIS SCREW CHEWING GUM TOWER PRESUMES THE ROLE OF A TOTEM¦POLE AROUND WHICH THE RITUALS OF THE PLAY ARE PERFORMED )- 0!2+?) ,IE TO (ISTORY?,ET S BUILD YOUR BEAU TIFUL TOWER YOU CHARMING BOYð POSES QUESTIONS ABOUT TRUST ALLIANCE POWER AND POWERLESSNESS IN THE CONDITION OF GLOBAL CRISIS

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3OCRATIS 3OCRATOUS« WORKS ARE MARKED BY THE PRESENCE OF POLITICAL COMMENTARY WHICH IS VERY FREQUENTLY COMBINED WITH A STRONG TENDENCY TO RAISE ECOLOGICAL AND SOCIAL QUESTIONS REGARD LESS OF WHETHER HIS WORKS CONSIST OF INSTALLA TIONS AND PERFORMANCES LIKE THE RECENT ONE ENTITLED 2UMOURS WITH WHICH HE PARTICIPATED IN THE "IENNALE OF 6ENICE OFFICIALLY REPRESENTING #YPRUS OR PHOTOGRAPHS "Y THIS PERSPECTIVE THE TWO PHOTOGRAPHS OF THE EXHIBITION THE DESTROYED CLASSROOM AND THE DUST BINS OUTSIDE 'REEK NIGHT CLUBS ¨BOUZOU KIA© WHICH ARE INUNDATED WITH CARNATIONS ARE TRANSFORMED INTO IMAGES¦SYMBOLS OF THE DAILY LIFE OF -ODERN 'REEKS AND NOT ONLY OF THEM 4HAT IS ONE COULD ¨INTERPRET© THESE TWO WORKS AS THE INEVITABLE COURSE OF OUR DAILY LIFE AND ROUTINE FROM SCHOOL EDUCATION WHICH LIES DEVASTATED

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AND UNABLE TO TEACH TO STANDARD FORMS OF ENTER TAINMENT DANCE FLOORS AND THE KITSCH AESTHETICS OF POPULAR NIGHT CLUBS !S IN OTHER PICTURES TAKEN BY THE ARTIST IN THESE ONES TOO PERSONAL MOMENTS HABITS AND ACTS ENGAGE IN DIALOGUE WITH UNIVERSAL HUMAN AND POLITICAL SUBJECTS WHILST REFLECTING THE ARTIST«S VIEWS AT THE SAME TIME ¨) AM CONVINCED THAT AN ARTIST CANNOT ONLY CHANGE THE FLOW OF ART HISTORY BUT ALSO THE WAY IN WHICH PEOPLE PERCEIVE THE POLITICAL SITUATION IN THEIR COUNTRY ©

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3OPHIA 4SAMOUTI«S WORK CONSISTS OF GEOMETRI CAL FORMS AND LARGE COLOURED SURFACES DERIVED FROM !BSTRACT PAINTING IN COMBINATION WITH THE ATMOSPHERE OF 0OP !RT (OWEVER WHAT MARKS THIS PARTICULAR STYLE OF PAINTING IS THE PRESENCE OF IRONY AND DELIBERATE CONTRASTS 4HUS WHILE VIEWERS WOULD EXPECT THE INTENSE ACRYLIC COL INTENSE ACRYLIC COL ACRYLIC COL OURS USED TO BE RELATED TO ¨HAPPY© THEMES AND STORIES THE ARTIST TAKES US BY SURPRISE BY CHOOS ING TO NARRATE DARK AND UNPLEASANT THEMES !S SHE HERSELF NOTES ¨TOPICS REVOLVE AROUND EMO TIONS EXPERIENCED BY PEOPLE AS A RESULT OF THE MODERN WAY OF LIVING ) USE BRIGHT AND LUMINOUS COLOURS TRYING TO GLORIFY A SAD SITUATION© 4HE SYMBOLS OF POWER ARE READY TO BE OVER THROWN SHATTERED PERHAPS BY THE ARTIST HERSELF MEANWHILE WE COME TO SEE THAT ANYTHING WE EX PECT TO HAPPEN IS GOING TO HAPPEN ON A SECOND LEVEL WITHIN A FRAME WITHIN A PAINTING 4HUS THE PROTAGONIST VERY LIVELY APPEARS TO BE READY TO OVERTHROW ANY FORM OF TYRANNY OF POWER AS WELL AS REPRESENTATION IN PAINTING

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; = "LOOD REVENGE IS PERHAPS AS CONSTANT AND INVIOLABLE A LAW FOR ANIMALS AS IT IS FOR HUMANS CLAIMS THE ANTHROPOLOGIST *EAN 0AUL 2OUX !LL OF CENTRAL AND NORTHERN !SIA DEEPLY FELT THE FEAR OF WHAT THEY CALL ¨THE REVENGE OF KILLED PREY© HE CONTINUES 4HIS SEEMS TO BE MORE GENERALLY THE REVENGE OF EVERY ANIMAL THAT HAS BEEN KILLED WITH THE DIFFERENCE THAT THE FEAR THAT A PREY PRO VOKES IS GREATER THAN THAT WHICH A DOMESTICAT ED ANIMAL PROVOKES BECAUSE RELATIONS WITH WILD ANIMALS ARE LESS OBVIOUS AND STABLE THAN THOSE

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WITH DOMESTICATED ANIMALS %VIDENTLY THIS FEAR ARISES MORE DURING HUNTING THAN IN SACRIFICE AND ESPECIALLY IN THE SO CALLED ¨SMALL HUNT© OR HUNT WHERE THE HUNTER FINDS HIMSELF EXPOSED TO THE DANGERS OF THE HUNT ALONE 4HE ¨BIG HUNT© OR THE GROUP HUNT WITH HUNTING DOGS OR WITH CLUBS IS COLLECTIVE ON THE ONE HAND AND YET IS AL SO AN ORGANIZED EXPEDITION WHICH DOES NOT LEAVE ROOM FOR THE UNEXPECTED )N BOTH CASES HOWEV ER THE DANGER OF REVENGE PERSISTS +OSTAS 4SOLIS EXPLORES THE BLOOD OF THE PREY AS A THEME THAT PERMEATES HISTORY FROM THE AGE OF MYTHOLOGY UP UNTIL RECENT POLITICAL HISTORY 4HE HARSH IMAGES THAT 4SOLIS PRESENTS USES ARE RARELY SEEN IN (ELLENIC GALLERIES ESPECIAL LY WHEN THEY EMANATE FROM A SENSITIVE PERIOD IN THE HISTORY OF OUR COUNTRY &OR THIS REASON ABOVE ALL WE HAVE NOTHING TO DO HERE WITH DIS TANT ¨PRIMITIVE© HEAD HUNTERS $AYAK FROM "OR NEO BUT WITH 'REEKS WHO HAVE CUT OFF THE HEADS OF THEIR FELLOW 'REEKS (UNTING OR HUNTING EXECUTION THE USES OF LETHAL WEAPONS DISPLAY OF THE TROPHY AS THE ULTIMATE POST DEATH SOU VENIR ARE ALL PART OF THIS EXHIBITION 4HE BLOOD THIRSTY DISPOSITION OF MANKIND PERVADES EVERY THING 4HE CARCASSES REMAIN TO ROT AT THE SCENE OF THE CRIME OR ARE CUT STUFFED AND DISPLAYED WITH PRIDE 4HIS EXHIBITION IS AS RAW AS THE FRIGID HUNTING LANDSCAPE ; =

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!RTICULATORS ARE THE BODY ORGANS USED TO PRO DUCE PHONEMES DURING SPEECH THE LIPS THE TEETH THE ALVEOLI THE HARD PALATE THE SOFT PAL ATE THE UVULA THE TONGUE THE ORAL CAVITY AND THE NASAL CAVITY WHICH ARE ALSO CALLED THE VOCAL CAVITY THE VOCAL CHORDS THE LINGULA THE LARYNX THE PHARYNX 4HESE ORGANS DETERMINE THE WAY IN WHICH A CONSONANT OR VOWEL IS ARTICULATED ; = 4HEY ARE DISTINGUISHED INTO ACTIVE AND PASSIVE ARTICULATORS 4HE ACTIVE ARTICULATORS ARE THOSE WHICH ¦ ESSENTIALLY ¦ MOVE TOWARDS A PASSIVE OR STABLE ARTICULATOR LINK WWW GREEK LANGUAGE GR

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3UFFOCATED LOGOS UNEXPRESSED LOGOS SUP PRESSED LOGOS !RTICULATORS THAT LOCK UP HUMAN EXISTENCE AND GET READY TO SWALLOW IT /NCE THEY OPEN THEY MAY SAY EVERYTHING BUT ALSO NOTHING 4HROUGH INFINITE WORDS AND SOUNDS OR THROUGH A SUFFOCATING SILENCE &ROM (ERACLITUS« AND !RISTOTLE«S PHILOSOPHIC ¨,OGOS© AND THE RELATIVE APPROACHES BY THEO RETICIANS LIKE &OUCAULT UP TO THE DAILY ACT OF

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¨SPEAKING© ITSELF LOGOS CONSTITUTES A MEANS AN ACT AND A NOTION THAT AT TIMES FAVOURS AND AT TIMES UNDERMINES COMMUNICATION 4ONGUE ¨CRUSHES BONES© AS THE PROVERB SAYS EXERTS FORCE BUT IT MAY ALSO PROMOTE MAYBE MORE THAN ANYTHING ELSE THE DEVELOPMENT OF THE HU MAN INTELLECT 0ANTELIS #HANDRIS« SCULPTURE SUPPLEMENTS A BODY OF WORK ACCOMPLISHED BY HIM REGARDING SPEECH AND THE ABILITY OR INABILITY TO ARTICULATE IT )T DEALS WITH THE TRUTHS AND LIES UTTERED BY AR TICULATORS THE MAIN ORGAN FOR THE PRODUCTION OF WORDS AND THE EXCHANGE OF CONCEPTS 4HE WHITE SCULPTURE IS CLENCHING A BLACK CREA TURE IN ITS TEETH WHICH LOOKS LIKE A HUMAN BEING ¦ SHELLFISH WITH NO BONES AND NO HEAD %ITHER THROUGH ITS WARMNESS OR HARSHNESS #HANDRIS« WORK ADDRESSES EXACTLY THIS POWER OF SPEECH IN ALL ITS MANIFESTATIONS

4HE TEETH AS A BOUNDARY BETWEEN THE MOUTH«S INTERIOR AND EXTERIOR AND A SYMBOL OF DIRECT OR INDIRECT PRESSURE AND VIOLENCE SEEM TO CRUSH EVERYTHING AROUND THEM 4HE TONGUE A WHITE AND SHINY SARCOMA THE MOST POWERFUL AND SENSITIVE MUSCLE OF THE BODY COMPLEMENTS AND INTENSIFIES THIS SENSE OF CRUSHING 4HE LIPS ONE OF THE MOST EROTIC AND AFFECTIONATE PARTS OF THE BODY ARE NON EXISTENT ACTUALLY ANY FORM OF SOFT SURFACE IS UTTERLY ABSENT FROM THIS MOUTH ¦ ¨VICTIMIZER© /N THE CONTRARY ITS ONLY FLEXIBLE FEATURE IS THE BLACK FIGURE ¦ ¨VICTIM© AN ALREADY EXHAUSTED CREATURE WITH NO HEAD DE PRIVED OF ITS OWN WILL AND LEFT ABANDONED UNDER THE CONTROL OF THIS ALL MIGHTY ORGAN !BANDONED IN THE HANDS OF ,OGOS ITSELF UNABLE ¦ LIKE THE REST OF HUMANITY ¦ TO ESCAPE FROM IT

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/NE OF THE MOST IMPORTANT STAGES IN THE DEVEL OPMENT OF SOCIAL CONSCIOUSNESS IN A PERSON«S LIFE IS THE PERIOD OF ADOLESCENCE AND IT IS AC COMPLISHED WITHIN SCHOOL 4HE SCHOOL SETTING FUNCTIONING AS A MINIATURE OF THE SOCIAL SYSTEM CONSTITUTES THE MAIN SETTING IN WHICH STUDENTS« ACTIVITIES AND ACTIONS TAKE PLACE !DOLESCENTS HAVE ALWAYS BEEN THE AGE GROUP IN WHICH RESIST ANCE HAS BEEN REGARDED AS A RATHER EXPECT ED AND HEALTHY ATTITUDE )T STEMS FROM THE FACT THAT ADOLESCENTS TEND TO QUESTION EVERYTHING DISPLEASING THEY START TO IDENTIFY AND PERCEIVE AROUND THEM .O ALL THIS IS NOT PART OF A GUIDE ON ADOLES CENCE )T IS A GLANCE ON AN AGE GROUP WHICH HAS CLEARLY STARTED TO BUILD ITS CONSCIOUSNESS AND TAKE ON RESPONSIBILITY FOR ITS OWN CHOICES AND WORDS A GROUP WHICH VERY STEADILY CONFIRMS THAT IT IS READY TO COME INTO CONFLICT WITH ANY THING TAKEN FOR GRANTED A GROUP WHOSE WILL IS HONEST ROMANTIC IDEALISTIC AND INTACT THUS IT INEVITABLY QUESTIONS EXISTING STRUCTURES -OST IMPORTANTLY IT IS THE GENERATION THE FUTURE DE PENDS ON 6ASSILIS (ATZOPOULOS CONSISTENTLY USES OBJETS TROUVmS OBJECTS FOUND AS THE STEADY BASIS FOR HIS WORKS AND IN USING THEM HE COMPOSES NEW WORKS WHICH ASSUME NEW FUNCTIONS (IS FIND INGS RANGE FROM SIMPLE IMAGINATIVE AND USEFUL OBJECTS FULL OF HUMOR TO HYBRID ELECTRICAL DEVICES FULL OF IRONY 4HE WORK 7E ARE NEVER GONNA DIE YOU STUPID 0RINCIPAL SEEMS TO BE THE ECHO OF A SCHOOL PRO TEST OR A HOPELESSLY BORING CLASS HOUR 4HREE PENS WITH BLUE INK AND A FEW PAPER CLIPS NAME LY OBJECTS USED BY SCHOOLS BUT PROBABLY ALSO BY BUREAUCRACY ARE THE TOOLS HE USES IN HIS EN DEAVOR TO CONSTRUCT A SLING SHOT ALONGSIDE ITS BULLETS A WEAPON WHICH IS A GAME AND A SYMBOL AT THE SAME TIME )T IS THE WEAPON OF THE WEAK AGAINST THE POWERFUL THE WEAPON OF STUDENTS PREPARING FOR TROUBLE THE WEAPON OF SOMEONE PREPARING FOR THEIR PROTEST THROUGH AN IMPRO VISED CHEAP PLAN

ã ç¸ Ããç ÁÂÊæã ÃÂÇá ¿ÂÊä À¸ Ê¿ã¾ ÅÉ½ ÁÇ¾¿ãµæãÁÂ X ã¿ ¸Å¸ÉÄÅ½Æ½ ÇÂÊ ¿¸ÀÀ¾ÇáÉÁ½ 7E WILL NEVER DIE YOU STUPID Principal /BJECT 18 x 8 cm Courtesy of the artist

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)F SPEECH IS AN ALL MIGHTY WEAPON THEN (ATZO POULOS EQUIPS IT WITH A SHAPE 4HIS SLING SHOT MADE FROM PENS ALREADY EMOTIONALLY CHARGED DUE TO THE WORK«S TITLE IS CONVERTED FROM A WEAPON OF SPEECH TO AN ALTERNATIVE WEAPON AGAINST POWER )T IS A SLING SHOT FOR THE $AVIDS OF EVERY SYSTEM

ΒΙΟΓΡΑΦΙΚΑ ΚΑΛΛΙΤΕΧΝΩΝ ARTISTS’ CVs 106–117

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ΤΟ ΤΑΞΙ∆Ι ΤΗΣ ΦΑΛΑΙΝΑΣ / ΖΕΣΤΟ ΚΑΛΟΚΑΙΡΙ, ΚΡΑΤΑΣ ΑΚΟΜΑ / ΚΙΤΡΙΝΟ ΑΕΡΑ ΦΥΣΑΕΙ ΕΝΑ ΜΕΓΑΛΟ ΣΤΟΜΑ / ΑΠ’ ΤΟ ΡΑ∆ΙΟΦΩΝΟ ΟΙ ΕΚΦΩΝΗΤΕΣ ΑΣΚΟΥΝ ΥΠΕΡΟΧΗ / ΑΝΑΣΤΑΙΝΟΥΝ ΚΑΙ ΘΑΒΟΥΝ ΧΩΡΙΣ ΚΑΜΙΑ ∆ΙΑΚΟΠΗ / ΑΣΤΑΜΑΤΗΤΑ ΚΑΝΑΛΙΑ ΤΡΩΝΕ ΤΟ ΜΥΑΛΟ ΜΑΣ / ΕΧΟΥΜΕ ΧΑΣΕΙ ΤΟΣΑ ΠΟΥ ∆ΕΝ ΞΕΡΟΥΜΕ ΤΙ ΕΙΝΑΙ ∆ΙΚΟ ΜΑΣ / ΟΙ ΦΤΩΧΟΙ ΞΕΡΩ ΠΩΣ ΕΙΝΑΙ ΠΕΡΙΣΣΟΤΕΡΟ ΦΤΩΧΟΙ / ΚΙ ΟΙ ΠΛΟΥΣΙΟΙ ΒΑΡΙΟΥΝΤΑΙ ΤΗΝ ΤΡΕΛΗ ΤΟΥΣ ΖΩΗ / ΜΕΣΑ ΑΠΟ ΕΝΤΥΠΑ ΜΑΣ ΚΑΛΟΥΝ ΝΑ ΖΗΣΟΥΜΕ ΜΙΑ ΑΛΛΗ ΖΩΗ / ΜΑ ΕΙΝΑΙ ΖΩΗ ΑΥΤΗ; / ΟΤΑΝ ΜΙΑ ΟΙΚΟΓΕΝΕΙΑ ΖΕΙ Μ’ ΕΝΑ ΜΙΣΘΟ ΕΚΑΤΟ ΧΙΛΙΑ∆ΕΣ / ΟΙ ΤΥΡΑΝΝΟΙ ΧΑΪ∆ΕΥΟΥΝ ΚΟΙΛΙΕΣ ΜΕΓΑΛΕΣ / ΚΑΙ ∆ΕΝ ΕΙΝΑΙ ΜΟΝΟ ΑΥΤΟ, ΜΑΣ ΚΥΝΗΓΟΥΝ ΧΙΛΙΑ∆ΕΣ ΜΑΡΚΕΣ / ΕΞΤΡΑ ΦΟΡΟΙ, ΕΞΤΡΑ Φ.Π.Α., ΕΞΤΡΑ ΣΚΑΤΑ / ΚΙ ΕΝΑΣ ΠΟΛΕΜΟΣ ∆ΙΠΛΑ ΜΑΣ ΠΟΥ ΚΑΝΕΙΣ ∆ΕΝ ΤΟΝ ΣΤΑΜΑΤΑ / ΚΑΙ ΚΑΝΕΙΣ ∆Ε ∆ΙΑΚΙΝ∆ΥΝΕΥΕΙ / Η ΑΓΑΠΗ ΜΑΣ ∆ΙΑΦΕΥΓΕΙ / ΚΙ ΑΝΤΙ ΓΙ’ ΑΥΤΟ ΨΙΘΥΡΙΖΟΥΜΕ ∆ΙΑΦΗΜΙΣΕΙΣ / ΧΡΗΣΙΜΟΠΟΙΟΥΜΕ ΤΟ ΣΕΞ ΓΙΑ Ν’ ΑΠΟΦΥΓΟΥΜΕ ΤΙΣ ΣΧΕΣΕΙΣ / ΚΙ ΑΠ’ ΤΟ ΤΑΞΙ∆Ι ΤΗΣ ΦΑΛΑΙΝΑΣ ΕΙΜΑΣΤΕ ΤΟΣΟ ΜΑΚΡΙΑ / Σ’ ΕΝΑ ΠΑΙ∆ΙΚΟ ΤΡΑΓΟΥ∆Ι ΤΟ ΜΥΑΛΟ ΜΟΥ ΞΥΠΝΑ / ΚΙ ΑΚΟΥΩ ΤΑ ΠΛΟΙΑ ΝΑ ∆ΙΑΣΧΙΖΟΥΝ ΤΙΣ ΘΑΛΑΣΣΕΣ / ΕΙΧΑ ΤΟΣΑ ΩΡΑΙΑ ΠΡΑΓΜΑΤΑ ΚΙ ΕΣΥ ΜΟΥ ΤΑ ΧΑΛΑΣΕΣ… / ΣΑΝ ΚΑΤΕΨΥΓΜΕΝΑ ΚΡΕΑΤΑ ΠΟΥΛΙΟΥΝΤΑΙ ΤΑ ΠΡΟΤΥΠΑ / ΤΑΥΤΙΖΟΜΑΣΤΕ ΜΕ ΗΡΩΕΣ ΚΙ ΑΛΛΑΖΟΥΜΕ ΠΡΟΣΩΠΑ / ΠΟΛΥ ΑΡΓΑ ΚΑΤΑΛΑΒΑΙΝΟΥΜΕ ΠΩΣ ΗΤΑΝ ΣΑΝ ΜΙΑ ΣΤΥΣΗ ΠΟΥ ΠΕΦΤΕΙ / ΕΝΑ ΕΚΑΤΟΜΜΥΡΙΟ ΣΤΕΡΕΟΤΥΠΑ ΠΟΥ ∆ΕΝ ΕΧΟΥΝ ΠΙΑ ΚΑΜΙΑ ΓΕΥΣΗ / ΜΕ ΚΑΝΟΥΝ Ν’ ΑΠΟΡΩ ΠΩΣ ΣΤΕΚΟΜΑΣΤΕ Α∆ΙΑΦΟΡΟΙ ΣΤΟ ΨΕΜΑ / ΓΙΑΤΙ ΧΑΝΟΥΜΕ ΧΡΟΝΟ ΟΤΑΝ ΜΕΣΑ ΜΑΣ ΤΡΕΧΕΙ ΤΟ ΑΙΜΑ / ΣΑΝ Ο∆ΟΝΤΟΠΑΣΤΕΣ ΛΙΩΝΟΥΜΕ ΜΠΡΟΣΤΑ ΑΠ’ ΤΗΝ ΤΗΛΕΟΡΑΣΗ / ΚΟΙΤΑΜΕ ΕΙΚΟΝΕΣ ΕΧΟΝΤΑΣ ΧΑΣΕΙ ΤΗΝ ΑΡΧΙΚΗ ΟΡΑΣΗ / ΚΟΙΤΑΖΟΝΤΑΣ ΤΑ Ι∆ΡΩΜΕΝΑ ΠΡΟΣΩΠΑ ΚΑΘΕ ΓΛΕΙΦΤΗ / ΚΑΘΑΡΙΖΟΥΜΕ ΦΡΟΥΤΑ ΓΙΑ ΝΑ ∆ΙΑΤΗΡΟΥΜΕ ΤΗΝ ΑΡΓΗ ΜΑΣ ΣΗΨΗ / ΚΑΘΑΡΟΙ ΣΤΡΕΪΤ ΓΙΑΠΙΣ ∆ΙΑΣΧΙΖΟΥΝ ΛΕΩΦΟΡΟΥΣ / ΠΕΡΗΦΑΝΑ ΣΤΗΝΟΥΝ ΤΟ ΜΕΛΛΟΝ ΜΕ ∆ΙΚΟΥΣ ΤΟΥΣ ΟΡΟΥΣ / ΣΑΝ ΕΞΥΠΝΟΙ ΒΛΑΚΕΣ ΦΕΡΝΟΥΝ ΤΗ ΝΤΡΟΠΗ ΤΗΣ ΕΚΠΑΙ∆ΕΥΣΗΣ / ΚΙ ΑΠΟ ΜΙΑ ΠΕΡΙΣΤΡΕΦΟΜΕΝΗ ΘΕΣΗ ΚΑΜΑΡΩΝΟΥΝ ΓΙ’ ΑΥΤΗ ΤΗ ∆ΙΚΑΙΩΣΗ / ΤΟ 2000 Η ΜΟ∆Α ΘΑ ΤΟΥΣ ΘΕΛΕΙ ΝΤΥΜΕΝΟΥΣ ΜΕ ∆ΕΡΜΑΤΙΝΑ / ΠΙΟ ΓΥΜΝΑΣΜΕΝΟΥΣ / ΝΑ ΚΥΒΕΡΝΟΥΝ ΚΑΤΩΤΕΡΑ ΟΝΤΑ ΑΤΙΜΑ / ΚΙ ΑΠ’ ΤΟ ΤΑΞΙ∆Ι ΤΗΣ ΦΑΛΑΙΝΑΣ ΕΙΜΑΣΤΕ ΤΟΣΟ ΜΑΚΡΙΑ / Σ’ ΕΝΑ ΠΑΙ∆ΙΚΟ ΤΡΑΓΟΥ∆Ι ΤΟ ΜΥΑΛΟ ΜΟΥ ΞΥΠΝΑ / ΚΙ ΑΚΟΥΩ ΤΑ ΠΛΟΙΑ ΝΑ ∆ΙΑΣΧΙΖΟΥΝ ΤΙΣ ΘΑΛΑΣΣΕΣ / ΕΙΧΑ ΤΟΣΑ ΩΡΑΙΑ ΠΡΑΓΜΑΤΑ ΚΙ ΕΣΥ ΜΟΥ ΤΑ ΧΑΛΑΣΕΣ… / ΣΤΗΝ ΠΙΣΤΑ ΤΟΥ ΑΕΡΟ∆ΡΟΜΙΟΥ ΕΧΕΙ ΝΥΧΤΩΣΕΙ / ΕΝΑ ΕΚΑΤΟΜΜΥΡΙΟ ΑΣΤΕΡΙΑ ΦΩΤΙΖΟΥΝ Ο,ΤΙ Μ’ ΕΧΕΙ ΠΛΗΓΩΣΕΙ / ΕΝΑΣ ΦΙΛΟΣ ΜΟΥ ΑΠΟΨΕ ΕΓΚΑΤΑΛΕΙΠΕΙ ΑΥΤΗ ΤΗ ΧΩΡΑ / ΚΑΤΑ ΒΑΘΟΣ ΛΥΠΑΤΑΙ ΜΑ ∆Ε ΒΛΕΠΕΙ ΚΑΙ ΤΗΝ ΩΡΑ ΠΟΥ Η ΖΩΗ ΤΟΥ Θ’ ΑΛΛΑΞΕΙ / ΟΤΑΝ Τ’ ΑΕΡΟΠΛΑΝΑ ΠΕΤΑΝΕ / Η ΓΗ ΑΠΛΩΝΕΤΑΙ ΚΑΙ ΟΙ ΑΝΘΡΩΠΟΙ ΞΕΧΝΑΝΕ / ΕΙΝΑΙ ΤΡΟΜΕΡΟ ΤΟ ΘΕΑΜΑ / Η ΑΙΣΘΗΣΗ ΑΥΤΗ ΟΤΙ ΠΕΤΑΣ / ∆ΕΝ ΕΧΩ ΑΛΛΗ ΕΚΛΟΓΗ / ΕΝΑ ΚΙΤΡΙΝΟ ΤΑΞΙ ΠΕΡΙΜΕΝΕΙ / ΦΥΣΑΕΙ, ΘΑ ΧΕΙΜΩΝΙΑΣΕΙ / ∆ΥΟ ΩΡΕΣ ΚΑΙ ΞΗΜΕΡΩΝΕΙ / ΣΥΝΝΕΦΙΑΣΜΕΝΗ ΚΥΡΙΑΚΗ / ΠΡΩΤΗ ΜΕΡΑ ΤΟΥ ΧΕΙΜΩΝΑ / ΣΚΕΦΤΟΜΑΙ ΤΟΥΣ ΠΙΟ ΣΗΜΑΝΤΙΚΟΥΣ ΑΝΘΡΩΠΟΥΣ ΑΥΤΟΥ ΤΟΥ ΑΙΩΝΑ / ΑΠ’ ΤΟ ∆ΕΞΙ ΚΑΘΡΕΦΤΑΚΙ Ο ΚΟΣΜΟΣ ΜΕΝΕΙ ΠΙΣΩ / ΠΟΤΕ ∆ΕΝ ΕΙΧΑ ΤΙΠΟΤΑ ΚΙ ΑΠΟΨΕ ΘΕΛΩ ΝΑ ΣΕ ΦΙΛΗΣΩ / ΝΑ ΜΕΙΝΕΙΣ ΣΤΑ ΜΑΤΙΑ ΜΟΥ ΣΑΝ Α∆ΕΙΟ ΤΟΠΙΟ / ΝΑ ΚΑΝΟΥΜΕ ΕΡΩΤΑ ΣΤΟ ΑΣΤΕΡΟΣΚΟΠΕΙΟ / ΚΟΥΛΟΥΡΙΑΣΜΕΝΟΙ ΣΑΝ ΜΠΑΛΑ ΝΑ ΕΚΤΟΞΕΥΤΟΥΜΕ / ΜΕΧΡΙ ΠΟΥ ΕΙΡΗΝΙΚΑ ΣΤΟ ∆ΙΑΣΤΗΜΑ ΝΑ ΚΟΙΜΗΘΟΥΜΕ / ΚΙ ΑΠ’ ΤΟ ΤΑΞΙ∆Ι ΤΗΣ ΦΑΛΑΙΝΑΣ ΕΙΜΑΣΤΕ ΤΟΣΟ ΜΑΚΡΙΑ / Σ’ ΕΝΑ ΠΑΙ∆ΙΚΟ ΤΡΑΓΟΥ∆Ι ΤΟ ΜΥΑΛΟ ΜΟΥ ΞΥΠΝΑ / ΚΙ ΑΚΟΥΩ ΤΑ ΠΛΟΙΑ ΝΑ ∆ΙΑΣΧΙΖΟΥΝ ΤΙΣ ΘΑΛΑΣΣΕΣ / ΕΙΧΑ ΤΟΣΑ ΩΡΑΙΑ ΠΡΑΓΜΑΤΑ ΚΙ ΕΣΥ… / ΚΒΗΤΑ / 1993