aA athanasios Anagnostopoulos portfolio 2015

aA athanasios

anagnostopoulos

aanagnostopoulos.com oaao213@gmail.com

Aa

PROJECTS

.text .I Miss You Like Hell: Paul /I Miss You Like Hell: Master .P-ME .TCP Group - Creating Utopias .f00l .gender construction(s) /sexual anti-propaganda /gaze me /sexual orientation_net confusion .Personal Income Statement Office - ΓΔΕ .consuming my image .bio

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.text

aA projects is

the label for individual and collaborative research-based art that includes mixed-media installations, participatory actions, video installations and performances. The projects engage artistic practice with theoretical research that explores the areas of psychoanalysis, art theory and philosophy. Religious texts, popular culture, corporate aesthetics, lacanian psychoanalysis, political manifestos, and the notions of subjectivity, ideology, fantasy, enjoyment, anxiety, and nothingness constitute the projects’ working material.

But what is ‘aA projects’ about?

What is the Thing that art does not talk about?

‘I do not know what I say but nevertheless I am talking about something’. Some thing I want to know, yet it constantly slips through my fingers. So, I lose and refind this Thing while I leave projects behind me. Then aA projects are organized around a loss. If scientists, philosophers are paranoid about emptiness, and the priest respects the void, then I am there to lose my Thing which means to always refind it in something else.

athanasios Anagnostopoulos aA/PROJECTS/ 5.

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.I Miss You Like Hell: Paul

5For when we were in the realm of the flesh, the sinful passions aroused by the law were at work in us, so that we bore fruit for death. 6But now, by dying to what once bound us, we have been released from the law so that we serve in the new way of the Spirit, and not in the old way of the written code.7What shall we say, then? Is the law sinful? Certainly not!

Nevertheless, I would not have known what sin was had it not been for the law. For I would not have known what coveting really was if the law had not said, «You shall not covet.» 8But sin, seizing the opportunity afforded by the commandment, produced in me every kind of coveting. For apart from the law, sin was dead. 9Once I was alive apart from the law; but when the commandment came, sin sprang to life and I died. 10I found that the very commandment that was intended to bring life actually brought death.11For sin, seizing the opportunity afforded by the commandment, deceived me, and through the commandment put me to death. 12So then, the law is holy, and the commandment is holy, righteous and good. 15I do not understand what I do.

For what I want to do I do not do, but what I hate I do. 16And if I do what I do not want to do, I agree that the law is good. 18For I know that good itself does not dwell in me, that is, in my sinful nature. For I have the desire to do what is good, but I cannot carry it out. For to will is present with me; but how to perform that which is good I find not. 19For I do not do the good I want to do, but the evil I do not want to do-this I keep on doing. 20Now if I do what I do not want to do, it is no longer I who do it, but it is sin living in me that does it. 21So I find this law at work: Although I want to do good, evil is right there with me. 22For in my inner being I delight in God’s law; 23but I see another law at work in me, waging war against the law of my mind and making me a prisoner of the law of sin at work within me.

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I Miss You Like Hell: Paul, HD video diptych,2015 (video stills)

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‘I Miss You Like Hell’ is a video installation in the form of a diptych. ‘I Miss You Like Hell: Paul’ is a study around language and its network of significations.

Paul’s epistles to Romans reveal in a revolutionary way the subject’s own contradictions regarding ethics, law and desire.

I Miss You Like Hell: Paul, HD video diptych,2015 (video stills)

The video’s narrative sets three levels; a structure of light disrupts the void’s obscurity; a word-structure disrupts in turn the organic purity of the universe; the whole constelation extends beyond Reason(or Science) addressing the questions of evil and sin.

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‘I Miss You Like Hell: Master’, video diptych,2015 (video stills)

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.I Miss You Like Hell: Master

‘I Miss You Like Hell: Master’, video diptych,2015 (video stills)

‘I Miss You Like Hell: Master’ touches upon ideology as fantasy and the enjoyment of apocalyptic visions. I miss you as much as I am able to miss Hell, longing for pain and self-destruction. I miss you as much as I miss the affective enjoyment that the identification with a nation, a mass or a cause can provide.

I miss you as much as I am capable of missing totalitarianism and the evil that derives from within myself. Finally, I miss you Master when I am longing for the enjoyment of being a slave.

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.P-ME

HD 4,86 mg

HD

HD

4,86 mg

4,86 mg

HD 4,86 mg

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P - ME HD /4,86 mg Type : Year of release : Place : Prescription req. : A.K.A. :

HD [Hysteria-Drug] 2015 London, UK none pervert–me/ politicize-me

Use: P-ME infiltrates the party-scene and aims at redefining ‘party-politics’, where demands for love meet entertainment culture, consumerist ideology, nihilism, denial, seductive experimentation, #yolo, hysteria and/or perversion. P-me floats and dominates dark spaces by evading techno-party culture. It is a ‘thing’, a virtual fetish for technocratic, positivist environments and highly ideologized crowds.

Internal use: ideal for holes, empty areas, voids.

Enjoy responsibly.

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HD video, projection dimentions variable, multiple versions 3D modelling: Kleitos Kyriakidis

Additional footage: ‘Triumph of the Will’, Leni Riefenstahl, 1931 DJ acts: Jamanna Hoj (Berlin, Leipzig, London) Len & O.G.(London), TREAD (London)

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Nuclear Palace Postcard, digital print series, 22x18cm, 2015

.TCP Group - Creating Utopias

The Power of a New Idea is an Engine that transforms the way we live and think.

Ideas are the most powerful tools we have to change the world. Our ability to dream, to create and understand the meaning of our ideas is the most valuable Capital.

Countries and Revolutions have been founded on them. We act as a catalyst, as an interface between dreams and reality, to make these ideas real. We are urban Alchemists, transforming dreams into reality. We celebrate Collaboration, that enhances the human Experience. We believe in the power of Ideas, elevating the level of Consciousness. We evolve as One with the world. Affecting the Instant, creating Utopias.

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The Crystal Palace Group - The Mega-Development of a Generation, on-site performance, Crystal Palace Park, London Costumes: National Theatre London

The Crystal Palace Group promotional video, HD 4.07 min (video stills)

The Crystal Palace Group representatives: Jacquie Rosenbach Michelle Salomons Johanna Maj Schmidt Florence Stencel-Wade Athanasios Anagnostopoulos

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Dear Sir/Madam, The Crystal Palace Group highly appreciates your interest in our project, responding to your query is of vital importance to us. However, due to an influx of queries we are unable to respond at this time. Please be patient, we will endeavour to reply as soon as possible.

Yours Faithfully, The Crystal Palace Group ‘Affecting the Instant, Creating Utopias’ www.crystalpalacegroup.com crystalpalacegroup@hong-kong-1.com

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HD video, 4.11 min, single channel (video stills)

.f00l

«f00l» places the reading of the Fool’s card of Tarot on the basis of perversion, far from mystical interpretations.

The dog in the card, looking as if grabbing the f00l from his testicles, is the starting point. Zero [0] is being switched repeatedly between g0d-d0g in the articulation of a narration, which is framed by Freud’s voice.

In the video, a line of visual elements unfolds, forming a network of significations, resembling a dream or a vision, which borrows from mystical, nihilist and perverse discourses.

0 The Fool is wandering.

The dog follows, grabbing the Fool’s testicles.

The dog is not there, he remains a representation.

The card is a snapshot of the sexual relationship between the fool and the dog.

It is an unnumbered card; zero is only later added in that empty place.

The F00l fucks his d0g/g0d in a relationship of “mutual enjoyment”.

F00l’s card, A2 print, 2013

dog is god reflected.

In any case, a zero is a hole.

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.gender[symbol]

‘gender construction(s)’ starts from the ideas of gender as a construction and «gender performativity». It explores aesthetically gender theory’s social, political and subjective aspects by attempting connections with the digital space. The internet here is perceived as a space of indeterminacy, where identities become fluid and ideological proclamations turn into cyborg manifestos. At the same time search results, opinions and answers comprise with marketing strategies of the field of digital enterprise and corporate aesthetics.

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In the installation, the ‘gender [symbol]’ is printed on banners used as a dominant branding logo. It is associated with the ‘performed gender’ and the gaze. In ‘gaze-me’ the use of qr code suggests a metaphor for an introspective space that consists of encoded significations. ‘gc’ is a site-specific environment for reading and viewings –occupying rooms originally used for courses in higher education. The visitor can watch four feature films and consult a bibliography of literature and theoretical texts related to sex, sexuality, gender theory, queer politics, political theory, psychoanalysis, pornography, art etc. The space remains open during office hours for ten days after the opening of the exhibition inviting visitors to leave and return, serving as an open multipurpose space, a place for information and discussion. Every two films are of a nearby production date, two of the late ‘60s and early ‘70s, after an intense period of political mobilization and movements for sexual liberation/revolution and another two of the first decade of the ‘00s.

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.sexual anti-propaganda

.site-specific installation / dimensions variable ( installation view )

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.sexual anti-propaganda

Movies: Funeral Parade of Roses [1969] Female Trouble [1974] I.K.U.[2000] The Raspberry Reich [2004]

installation / dimensions variable ( installation view )

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A4 prints inside drawers 4 qr-symbol prints inside drawers / 104 x 71 cm each

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.gaze me

/ eyes/ gender/ assumption/ sexuality/ water/ the uncanny/ reality/ fish/ embryonic state/ fetus/ sexual organs/

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.HD video / 0.36 min / sound / video blog .HD video / 0.19 min / no sound / video blog

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.gaze me

.HD video / 5.48 min / no sound / video blog .HD video / 1.02 min / no sound / video blog

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Sexual identity is sought in the digital space. The questions used in the video come from popular psychological tests and questionaires regarding sexual orientation. .HD video / 3.22 min / double channel / sound / (video still)

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.sexual orientation_net confusion

Personal computer’s digital reader and one of a popular online translator are used instead of my voice. The voices used belong to a male and a female digitally generated narrators.

.HD video / 5.18 min / double channel / sound / (video still)

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.Personal Income Statement Office - ΓΔΕ

.installation view / 2nd akto congress, Athens

Personal Income Statement Office (ΓΔΕ), is a participatory action taking place in a special political moment in greece, a period of extensive economical measures that affect widely the sallary levels while increasing signficantly the unemployment percentage. Issues regarding salaries, incomes and tax policies take central roles in every day thought and public conversations, expressing discontent for the political system itself and for the complex bureaucratic procedures of the greek public sector services.State bureaucratic aesthetics become the object of appropriation in the ‘ΓΔΕ’. Τhose interested in receiving the action’s text paper are asked to state their income category after consulting a relevant table conserning monthly income categories, each one represented by a different colour. Then the office’s employee (already working in the greek public sector and being familiar with similar procedures) hands out the appropriate paper after sealing it with a stamp.The procedure results in the formation of a literally colorful set of individuals, which recalls statistic charts. It is a pleasant occasion, a chance for celebrating the alienating capacity of bureaucracy.

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ΔΗΛΩΣΗ ΕΙΣΟΔΗΜΑΤΟΣ

ΣΕ ΠΟΙΑ ΚΑΤΗΓΟΡΙΑ ΑΝΗΚΕΤΕ ;

Άνεργος/η , άεργος/η [ χωρίς εισόδημα ]

≤ 600€ / μήνα

από 601 έως 1300 € / μήνα

> πάνω από 1300 € / μήνα

Δεν απαντώ

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.Personal Income Statement Office - ΓΔΕ

.installation view / 2nd akto congress, Athens

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.consuming my image

.video / 4.48 min / single channel / (video stills)

‘Consuming my image’ exposes the double function of the image of the self; both as a source and as a lure.

It is about a seductive mirage and a desperate process repeated almost obsessively. The video addresses the impossibility of feeding oneself with one’s self. The gaze and the image of the self exacerbate anxiety and the vicious cycle of self-consumption/self-destruction. The video ultimately hints at the erotic nature of ‘cannibalism’.

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athanasios Anagnostopoulos Born 1989 in Athens, Greece Lives and works in London and Athens.

.list of shows

2015

Invisible Governments: «Gnosis» as a state of the self, Circuits and Currents, Athens, Greece

2015

#Neoliberation: The Self in the Era of New Media Conference, The Albany, Deptford, London

2015

Sublime Shallows, The Arch, Cambridge Heath, London

2015

The Show Don’t Tell Show, The Bussey Building, Peckham, London

2014

Video Art Festival Miden, Kalamata, Greece

2013

FONLAD Online Festival for Digital Arts, Coimbra, Portugal

2013

About Nothing, BooArt, Athens, Greece

2013

2013

Open Doors II, Technopolis- Municipality of Athens,

Athens, Greece 2012

anamesa mas, Medecins Du Monde, Athens Fringe Festival AFF, Technopolis, Athens, Greece

2012

14th International Film Festival of Patras, Patras, Greece

2012

the ID | the ODD, 2nd AKTO Congress, AKTO College, Athens, Greece

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.education

2014-2015

MA Art and Politics, Politics Department, Goldsmiths University of London.

2013-2014

Athens School of Fine Arts

2010-2013

BA (Honours)(1st Class) in Fine Art & Technology, Middlesex University

2006-2010

Department of Chemistry, Faculty of Sciences, University of Crete

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aA athanasios anagnostopoulos aanagnostopoulos.com oaao213@gmail.com

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