Curatorial portfolio 2013 - Fenia Kotsopoulou

CURATORIAL PORTFOLIO

FENIA KOTSOPOULOU 2013

CURATORIAL PORTFOLIO FENIA KOTSOPOULOU 2013 PARTIAL FULFILLMENT FOR THE MA/MFA CHOREOGRAPHING LIVE ART LINCOLN PERFORMING ARTS CENTRE (LPAC) LINCOLN, UNITED KINGDOM TEXTS WRITTEN BY FENIA KOTSOPOULOU 2013/2014 PHOT0 BY DAZ DISLEY, FENIA KOTSOPOULOU DESIGN BY FENIA KOTSOPOULOU PRINTED BY BUDGET PRINT THE WORKS REPRESENTED IN THIS BOOK ARE THE ORIGINAL CREATIONS OF THE CONTRIBUTING ARTISTS. ALL ARTISTS RETAIN COPYRIGHT IN THEIR INDIVIDUAL WORKS. NO PART OF THIS BOOK MAY BE REPRODUCE OR TRANSMITTED IN ANY FORM OR BY ANY MEANS, WITHOUT PRIOR WRITTEN PERMISSION.

COPYRIGHT © UNIVERSITY OF LINCOLN 2013/2014 ALL RIGHTS RESERVED

www.feniakotsopoulou.de

C O N T E N T S

PART ONE

ABOUT CURATION # INTRODUCTION//1 # CURARE //2 # ARTIST-CURATOR //4

PART TWO

CURATORIAL EXPERIENCE # MINI FESTIVAL: “INTERCONNECTIVITY & LIVE ART” //9 vision: inter-connectivity key theme: “memory as...” selection and invitation of artists promotional material post-reflections # MINI FESTIVAL:“APOCALYPSE. THE DEATH OF PERFORMANCE” //27 concept artists/performances promotional material post-reflections # BIBLIOGRAPHY //34

PART THREE

PHOTO-ARCHIVE //38

P A R T

O N E

ABOUT CURATION

#INTRODUCTION#

my experience on curatorial practices started within my studies on the ma/mfa choreographing live art at the university of lincoln (2013/2014). during the period of september to october and in collaboration with my colleagues on the programme- irene atmatzidi and vagia kapousidou we organized and curated the mini festival “apocalypse. the death of performance” which was held at lincoln performing arts centre (lpac) on the 26th october. during the period of november to december, i created, organized and curated the minifestival “interconnectivity & live art”, an event that took place again in lpac on the 12th of december. these two experiences - in the first case acting as part of a collective machine; and in the second case as independent artist/ curator - have provided a positive self-growth, allowing reflection and an insight into my artistic practice, which i believe can now be transformed and developed with fresh perspective gained through curatorial practice. in this book i will speak more extensively about the curation of the mini festival “interconnectivity & live art”.

#CURARE#

today there is an increasing interest regarding the field of curatorial practices and theories. journals, web-based publications, books and academic courses focus on this growing area of knowledge. the practice of curation has been redefined as an art in its own right, with its own structure and language. curating, in the sense of taking care of something, is not a modern practice but has always concerned artists regarding their works. “it’s not about presenting the best there is but about discovering where the unpredictable path of art will go in the immanent future.” (szeemann 2004)

What does curating mean? the first thing i find very meaningful is the etymology of the word curating. according the oxford dictionary the word curating derives from the old french curer (verb); cure (noun), both from latin curare meaning “take care of”. (oxford dictionaries, 2013). under the roman empire, we find the role of curatores, a title that was given to officers working in various departments of public work like: sanitation, policing, transportation. (smith, 1875). in the middle ages the role of the curator has more of a spiritual aspect and becomes a clergyman having a spiritual cure or charge.

but it’s only since 1660 that we begin to see the word’s more modern sense: keeper or custodian of a museum or other collection / a person who selects acts to perform at a music festival. what is the role of the curator? the curator is not just someone who aggregates artworks in a museum space and delivers them to the public. the main role of the curator is that of acting as filter, as mediator between artists and audience. s/he gives the conceptual framework to the artistic production, oversees the distribution of production funds, fees, and prizes, s/he decides and selects the artworks that will be shown to the public and the one who manages how the audience will experience them. the curator also has to ensure the work is displayed in such a way that it is accessible and meaningful to the public as well to delineate a comprehensive and accurate record of the artwork for the future; a big responsibility towards the interests and the intentions of the artist as well of the institution for which s/he works. “i think curating is all that goes into the making real of ideas through the curator’s preparation and through the experience of the involved artists’ works. the constituting of a certain convincing and effective presence in space and time comes from a sense of being personally implicated and/or affected by something.” (bassam el baroni, 2013)

#ARTIST/CURATOR#

the power the curator-figure exercises in the establishment of the contemporary art scene has provoked several discussion and conflicting opinions. in fact, often curators have been accused of taking a very authorial and creative position in the realization of exhibitions and using the artists as raw material. there is the risk as curator to supersede the work of artists and through certain decisions render artists and artworks merely actors and props for illustrating curatorial concepts. in his essay included in jens hoffmann’s project “the next documenta should be curated by an artist” (2003), john baldessari states: “what disturbs me is a growing tendency for artists to be used as art materials, like paint, canvas, etc. i am uneasy about being used as an ingredient for an exhibition recipe, i.e. to illustrate a curator’s thesis.” anton vidokel (2010) in one of his articles in the journal e-flux writes that “most artists suspect that their “supervisors”, the curators, do not really understand the art, that they are controlling, egocentric, and ignorant, and are mismanaging the (art) factory and mistreating the producers.” however artists and curators are not always two parts in negotiation, dialogue or conflict. as darryl bank states, in his essay “artist/ curator, curator/artist”, artistic practices have incorporated other

practices,including collaboration, editing, and interpretation - some of the work typically associated with the curator. many artists decided to take charge of how their work was displayed, preferring to operate also as curators; they develop their careers and they expand their networks by organizing their own exhibitions with peers or in collaboration with other artists, employ curatorial impulses, gestures, and practices into their projects, provide interpretive frameworks such as didactic texts or publications. some example of this hybrid activity (artist/curator) are ivan jurakic, julieta aranda, paul couillard, gavin wade, matthew higgs. “artists have a different approach to curating — one that is less conformist and often more creative and unpredictable. (jens hoffman, 2008)”

P A R T

T W O

CURATORIAL EXPERIENCE

as an artist, learning to take care of my own work within the process of making is becoming one of my priorities in order to go deeper into my practice. my recent experience in curating two mini festival (one in collaboration with other student/artists and another individually) has offered me insight regarding methods of curating and delivering artwork of my peers, as well as the opportunity to move into a self-reflexive analysis about my own artistic work.

#mini festival#

”INTERCONNECTIVITY & LIVE ART” curated by fenia kotsopoulou 12 december 2013 lincoln performing arts centre www.feniakotsopoulou.de/ila

~VISION: INTER-CONNECTIVITY

the mini festival “interconnectivity & live art” presented its first edition on the 12th of december at the university of lincoln with the participation of international interdisciplinary artists. the overall theme and concept of the festival is inspired by the concept of “interconnectivity” referring to systems of which “parts and processes are connected by structural and/or behavioral relationships”. (markgraf,2012) an extensive variety of disciplines use this term to delineate how elements of their area of study link to more complex structures. interconnectivity presumes that the parts to be linked have the capability to exchange significant data. “once the possibility of an interconnecting link exists, the implementation of the interconnection depends on whether the new, combined structure results in any desired benefits”. (markgraf,2012) in our times, the drive to be interconnected is deeply impinged on by our life experience. for the most part we are part of more than one network, association, group or organization and even if the world sometimes seems to be fragmented and divided, each piece still has a

link to the other(s). human creativity becomes the glue that binds together these pieces : interconnectivity being one process allowing varied elements to come together in creative ways. it is a fact that although the idea of “specialization” in one field is still very present and promoted, we observe the tendency of many artists to investigate and explore different areas (philosophy, technology, psychology, ecology etc) in order to develop and enhance their own practice : conceptually, aesthetically, theoretically and scientifically. therefore we are witnessing an increase of artistic works which combine different elements that could be more engaging for the audience. in the case of this festival the focus is on the connectedness between the work of different artists and the (in)visible elements that link them. the work of interdisciplinary artists occupies the same space/ stage in order to create a new vision of artworks presented as a unified body of work. the audience can be personally involved and is not anymore just a passive receiver or voyeur of visual/acoustic stimuli but engages in a more active role that often demands of him or her to contribute to the creation or determine the transformation of an artwork. the work of the invited artists is seen as an autonomous assemblage, a living organism, a new creation - a piece of a new puzzle. this is also the challenge of the festival; to bring together independent artistic works and create a synergy that is based on the (in)visible and hidden elements within their interconnection. in this way the artist can revisit their work in a refreshing way without changing

the conceptual basis or core of their creations, and the audience can participate and enjoy a fluid experience within the space.

~KEY THEME: “MEMORY AS:...” if “interconnectivity” is the main concept of this festival, the invisible thread is created under the key-theme: “memory as...” the work of each artist was linked in a different way/level with the idea of memory. memory as a process, memory as a mechanism, memory in evolution, memory in search, memorials, individual memory and collective memory, memory as a stop in time and a leap in time.

~SELECTION AND INVITATION OF ARTISTS irene atmatzidis (gr/usa): atma.tcbart.com/ daz disley (uk): roughdiamondproductions.com/daz/ francesca fini {it): www.francescafini.com/ vagia kapousidou (gr): www.armen.gr/vaya/ fenia kotsopoulou (gr): feniakotsopoulou.de chiara mazzocchi (it): chiaramazzocchi.com serena salvadori (it): serenasalvadori.com

E-MAIL INVITATION TO ARTIST VAGIA KAPOUSIDOU Dear Vagia Kapousidou, my name is Fenia Kotsopoulou and currently I am curating the first edition of the I. L.A (Interconnectivity & Live Art) mini Festival that it will be held on the 12th December 2013 at the LPAC (Lincoln Performing Arts Centre). Within the framework of the festival, I would be delighted to invite you to be part of this artistic platform that aims to generate interesting and creative connections between interdisciplinary talented artists offering to its audience an fascinating and engaging experience.

As curator and artist, I am attracted by your work and the way that you synthesize your professional identities as scientist and live artist. More specifically, in reference to your last lecture/performance: Ethics of Apathy which I attended on last October , I consider that you have delivered on stage a complex, scientific research in such a creative way through the partial re-enactment of your experiments engaging your audience and maintaining live the curiosity around the topic of apathy. The merit of your creative work, the participatory elements within your art, your interdisciplinary background and your exploration of body's and mind's limitation under scientific lenses, fulfill the festival's curatorial criteria.

From curatorial and experimental point of you I would be very interested to probe ways that this lecture/ performance could be interconnected with other artists work in one evening-event under the theme: "Memory and...". This theme is actually the creative threshold that will link one artwork with the other to form an integral body of work.. Although memory is not the topic of your research, I would like to invite the festival's audience to draw a connection between your and other artists work through the specific theme. If you are interested to make a further "experiment" that will give life to a new experience regarding apathy, we could have a skype meeting to talk about potential ideas and proposals for the presentation of your work.

In order to for you to have a more clear idea regarding the overall concept and specification of the I.L.A Festival , I invite you to read the document I attach to this letter. I would be grateful if you could reply within the next two days for your interest or not to participate in the festival.

Thank you very much for your time and I hope to hear from you soon.

Sincerely Fenia Kotsopoulou. curator of I.L.A Festival 2013

#PROMOTIONAL MATERIAL#

this was the first poster made to promote the event. it was at the beginning of the process when my ideas were not so clear. in fact there is a certain disconnection with the rest of the design that i used for the promotional material (flyers/leaflet/poster). i decided to take the risk and change the graphic presentation to something more sophisticated, although i tried to keep some elements like the combination of colors and the “abstraction� element.

~POST-REFLECTIONS

human interactions. curating the work of my peers has been a good opportunity to take a certain distance from my research and open up to the different ways of other artists working in their field. in each case, i realized how important is to take in consideration the human factor before anything and build up a communication and a dialogue with each individual artist in order to avoid misunderstandings and misconceptions. it was important to be clear with deadlines and the information i was asking, especially during the period of promotional preparation of the event; to act as problem-solver and communicate to the artists my ideas regarding the placement of their work and discuss with them alternative solutions, as was the case with the artist serena salvadori. i decided to include in the mini festival a photographic exhibition of the italian artist serena salvadori about her work in progress: “memories”. during our conversation, via skype, we realized that for financial reasons, it was not possible to use prints of the photos. so another solution was to project the photographic material. that raised for me the question of how i could present serena’s work in a more creative way than a simple projection. so with serena’s agreement i took the initiative to project the photo through an old frame hanging from the ceiling; with the additional use of some objects - a powerful projector and an old frame - was created a photographic installation with the purpose of giving emphasis to the artist’s intention.

my main concern and big challenge was to extract and understand the cornerstone of the artwork, allow the power of the work to emerge and find a way to deliver it in the space in synergy with other artist’s work creating the possibility for the audience to have a fluid and engaging experience. as a result of my experience, i would say that the curator is primarily a “facilitator” of the dialogue between artist and audience who offers an alternative ground for such dialogue to happen.

failure.

“every adversity, every failure, every heartache carries with it the seed on an equal or greater benefit.” napoleon hill

what didn’t work during the process of making has been an important lesson about learning. there were several problems to overcome on a daily basis due the geographic distance with the most of the artists, my lack of experience, certain gaps in the self organization, overwhelming work. although the main difficulty was that of curate my own work. my time dedicated to practicalities, writing texts, communicating with artists, and designing the promotional material took away a lot of energy. it was hard to divide equally my time between my personal artistic work and my curatorial practice. as a result, for example i was less accurate about the details of my own work and its presentation, the day of the event my piece was the last to set up. but the most difficult part was to find the way to switch when it was necessary from curator to artist and back again especially on the day of the festival when i had to perform and part of my thoughts were in the rest of the exhibition. i consider that the presence of the curator should not overwhelm the space of the exhibition - at the end of the day is not about the curator - even though, because of the responsibility towards artists, artworks and audience,

i felt that it was important to be present and available in case of technical problems or visitor enquires. therefore in this case performing my own piece became a more demanding task of concentration.

process of making:

“when artists curate, they cannot avoid mixing their artistic investigations with the proposed curatorial project: for me, this is the strength and singularity they bring to curating. the event can have a chance to become clearly embedded in a network of proximate knots, enhancing the circulation of “sensorial” and ”affective”energy - a flow which the field of art has managed to comprehend in terms of its economy and circulation.” ricardo basbaum,(hoffmann,the next documenta should be curated by artists, 2003)

when i think about the overall picture of the festival, i can see basbaum’s statement. indeed the personal investigation regarding my artistic work had a clear influence on the contextualization of the mini-festival. conscious and unconscious selections and decision regarding artists and their work, theme, and main concept, reflected my persona as artist. critically thinking of my choices, i realize that i was the first to sense a certain connectivity between the selected works and my own work in different levels. memory was the sub-theme of the festival but also the mechanism on which my project was based, which i also presented in this context. i was and still am interested to discover the different roles that memory can play before, during and after the creative process, the ways individual and collective memory can be stimulated from an audience perspective, and the ontological nature of memory.

influences:

the curator anthony huberman and the lecture in which he presents artists,

artworks, and ideas that have inspired his curatorial process and approach to making exhibitions was a very interesting source of inspiration. (youtube:contemporary art museum st. louis, 2011)

huberman thinks the exhibition not as a way to explain theories about art but as a place where juxtapositions and proximities get explored and experienced, where the viewers can drawn their own chain of loose associations between the artworks by relating their own experience in the moment. a successful exhibition is the one which leaves the viewer with thoughts and questions and more curious about the world. as artist/curator my intention was to create an event that invited the viewers to become active in their way of looking and not be just passive receivers of a delivered idea; a space that allows the audience to make its own association between the artworks by creating personal narratives; an opportunity to have a multi experience based on live and one-to-one performances, participatory installations, video art or photographic exhibitions. being an active audience doesn’t mean to be physically active and involved - also the moments of silence are very important. for this mini festival i decided to invite six artists and include myself in a three hour event held in one space (studio 3). how would it be possible to bring together seven different artistic works: three live participatory performances, one sound installation, two video installations and one photographic installation without overwhelming the space with too much information, let each work to speak about itself and at the same time create a unified and fluid experience for the viewer? this was the biggest challenge.

i found the work of jens hoffmann (writer,curator and director of exhibitions based in london) very inspiring. apart from his books like “ten fundamental questions of curating” (mousse publishing, 2013),”the next documenta should be curated by an artist” (revolver, 2004), particularly striking for me was that hoffmann’s training in theatre exerts an influence on his curatorial approach and his way of making exhibitions. “i begin with a certain introduction and then carefully put together what piece comes after the next, how the pieces interrelate, how to create a dramatic flow so that visitors are not constantly bombarded by visuals, but rather have moments of silence interspersed with action. the moments of contemplation are really carefully outlined. i would say this probably accounts for 60 percent of the work i do as a curator – this careful placement of the objects and attention to the pacing, or flow, of an exhibition.” jens hoffman, (interview by thierry somers).

also ydessa hendeles, art collector and curator based in toronto, thinks in terms of compositional process. “i am a storyteller. each object in a show contributes to the narrative, while also holding a place in the composition. indeed, each object is an essential building block that bears no substitution. my approach is to start from the place, and then follow a site-specific artistic process to stage the art. my effort is to mediate between the exhibition space and the viewer to reveal multiple layers of meaning in the objects and something significant about the setting.” ydessa hendeles, (interview by alexander ferrando).

in order to overcome the difficulties of making decisions in a short time, inspired by hoffman and hendeles, i had to think in terms of choreographic composition regarding space, time, relationships, placement of objects, sound landscape, lights as well aesthetics. in that case my own artistic background

and experience in choreography, improvisation and instant composition had an undoubtedly important role in providing me tools of action. also, it was helpful and inspiring to see in a critical way similarly structured mini festivals curated by artists. like the case of “pilot festival”, created and curated by artist caroline wright. this is a live and visual arts festival in late summer that took place in the seaside town of brightlingsea, essex and it is envisaged it will lead to a regular annual or bi-annual festival. the mini festival had a specific theme - water - there were exhibitions and performances of seven artists, caroline included. my previous involvement in other festivals, and encounters with other experienced curators proved very useful and constructive. festivals ~ festival : ”gnarl fest” curated by pavlos kountouriotis, in which i was part of the team in the role of the communication officer. i assisted the important steps and strategies regarding management, organization and promotion of the festival. ~ mini-festival within frequency festival in lincoln : “apocalypse. the death of performance”, a collaboration with the other two students of the ma/mfa choreographing live art. in this case the useful learning outputs were: how to make teasers/trailer, design postcards, flyers, leaflets with advanced software, curate texts of presentation, working as collective machine.

curators ~ eirini papakonstantinou,curator of the 1st and 2nd editions of the thessaloniki performance festival, as part of the parallel programme for the thessaloniki biennale of contemporary art, with whom i had one to one lecture on her curatorial practice. ~ luisa catucci, curator, artist, and director of cell63 artgallery, where i performed from 2010-2013 during exhibitions. thanks to our collaboration and friendship i had the opportunity to witness several times luisa’s process of making exhibition in a gallery space.

my influences and inspiration on curating the “interconnectivity & live art” are much more than the ones i refer to here and cannot be included just in one list. as an artist every encounter is stored in my memory database as a potential inspiration, a seed that will blossom at the right moment - the same regards all the different aspects of my activity.

#mini festival#

”APOCALYPSE. THE DEATH OF PERFORMANCE” curated by fenia vagia irene 26 october 2013 lincoln performing

kotsopoulou kapousidou atmatzidis arts centre

#POST-REFLECTIONS#

for me collaboration is a relationship in which each person of the team feels equally responsible for the success of the joint project and the achievement of shared aims. working in a team has been always a rich experience of self-growth and improvement, from which each time i learned more about how to overcome difficulties, take initiatives, solve problems creatively, accept failure, think more critically, support and ask for support, deal with frustrations, misunderstandings and disagreements. curating this mini festival in collaboration with irene atmatzidis and vagia kapousidou, under the tutoring of the lecturer pavlos kountouriotis, has been a great opportunity to approach curation as a collective practice as well to accumulate important tools that i would use during the individual curation of the mini festival “interconnectivity & live art�, one month later. regarding curatorial practice in recent years, it is notable artists’ collective engagement with exhibition-making, as an alternative approach to curation. there are artists who attempt to facilitate artistic production and to make accessible their work to different contexts without

the mediation of curators but working collectively in self-organizing ways. in this case collaboration can be seen also as a strategy to deal with the large amount of responsibilities regarding not only the creative and artistic process of each artist but also concerning promotion, management, presentation, reception, and documentation. reflecting back on the experience of curating this mini festival, i have realized the importance of certain elements in order to achieve the best result and avoid conflicts within the team, such as: developing an agenda and a timeline, allocating jobs or sub-tasks for each member, understanding that teamwork requires some negotiation and compromise, openly communicating doubts, fears and disagreements with respect to personal and artistic diversity. as a team, sometimes during the period of preparation we lacked some of the elements mentioned but we managed each time to redefine our common intention, find ways to surmount the problems through constructive dialogue and make the collective machine work for a successful and engaging festival.

#CONCEPT#

“in the year 2014, this performance will die. obsolescence will empower a new mythology for the old forgotten event, completing the circle from death of performance to its guarantee. semi live, semi dead, this new zombie creature will penetrate your imagination and haunt your minds with fears, hopes and doubts about the future of this performance. this is a curated mini festival of dead/live art performances by the students of the advanced ma/mfa choreographing live art programme who function as mediums and clairvoyants presenting their apocalyptic visions from their residency in france.� (text as published in frequency festival marketing materials)

#ARTISTS/PERFORMANCES# fenia kotsopoulou “(dis)remembering:

an archive of me and my father”

studio 1 // 1800-2100 participatory experience eirini atmatzidis “in dialogue with william wegman” studio 2 // 1800-2100 ongoing installation vagia kapousidou “the ethics of apathy: a performance lecture”

lpac auditorium // 1930-2015 performance lecture

usually archives are made to keep artefacts safe, preserved and many times secret. this archive demands the opposite from you. this archive documents my troubled yet intimate relationship with my father. you are allowed steal, destroy, eradicate or erase all the data and information in this very private archive.

this new media installation foolishly aims to restore to the human what was lost when they passed from the state of an ape to the “intelligent” state of humanity: truthfulness in simplicity. playing between the margins of reconstruction and transcription, this installation just might put a smile on your face.

vagia kapousidou, a psychoanalytic counselor and a live artist, comes on stage to marry her two professions in a refreshing format. this scientific(ist) performance is the product of experiments, bizarre experiences and circumstances. an unexpected journey, one performer, one camera and a disappointing outcome…

#PROMOTIONAL MATERIAL#

photo and design by fenia Kotsopoulou

corrections

by

pavlos

kountouriotis

#BIBLIOGRAPHY# bank, d. (2008, may 26). “artist/curator, curator/artist”.curators in context.[online] accessed january 7, 2014 available from: http://curatorsincontext.wikispaces.com/artist-curator contemporary art museum st. louis (2011). anthony huberman discusses his curatorial process. [online]. accessed 7 january 2014. available from: http://www.youtube.com/watch?v=hwaz5xpx_ey couillard, p ( 2009), selecting performance art: curating vs. programming’, canadian theatre review, 137, pp. 83-85, international bibliography of theatre & dance with full text, ebscohost, viewed 7 january ,2014. ferrando, a. (2012, may-june). ydessa hendele.flash art. [online].( 284). accessed january 7, 2014. available from: http://www.flashartonline.com/interno.php?pagina=articolo_ det&id_art=902&det=ok&title=ydessa-hendeles trezzi, n. (2010, march-april). the art of curating. flash art. [online].

(271). accessed january 7, 2014. available from: http://www.flashartonline.com/interno.php?pagina=articolo_ det&id_art=902&det=ok&title=ydessa-hendeles hoffmann, j. (2003). the next documenta should be curated by artist. e-flux.[online]. accessed january 07, 2014, available from: http://www.e-flux.com/projects/next_doc/john_baldessari. html jens hoffmann, j. a. (2008). art as curating ≠ curating as art. art lies. [online].(59). accessed january 7, 2014. available from: http://www.artlies.org/article.php?id=1654&issue=59&s=0

jurakic i. (2005). navigating the curator-as-artist divide.curators in context. ca. [online]. accessed january 7,2014, from curators in context. ca: available from: http://curatorsincontext.ca/en/talk.php?id=17 markgraf, b. (2012)definition of interconnectivity. ehow. [online]. accessed january 07, 2014. available from : http://www.ehow.com/info_12160449_definitioninterconnectivity.html#ixzz2krqp5uju oxford dictionaries. (2013). [online]. accessed january 7, 2014. [online]. available from: http://www.oxforddictionaries.com/definition/english/ curator pierce, s.( 2011). with practicality comes a practice: the artist as curator. [online]. accessed 07 january 2014. available from: http://visualartists.ie/resources/infopool-2/professionalpathways/with-practicality-comes-a-practice-the-artist-as-curator/. rugg, j., & sedgwick, m. (2007). issues in curating contemporary art and performance. bristol: intellect books. somers, t. (2012, september 1). jens hoffmann (part 2). 200% magazine. [online]. accessed january 07, 2014. available from: http://200percentmag.com/2012/09/01/jens-hoffmann-part-2/ strauss, d. l. (2006). the bias of the world: curating after szeemann & hopps. the brooklyn rail. [online], 5. accessed january 7, 2014. available from: http://www.brooklynrail.org/2006/12/art/the-bias-of-theworld vidokle, a. (2010). art without artists? e-flux. [online].(16), 5. smith w, d.c.l., ll.d.: . (1875). a dictionary of greek and roman antiquities.bill thayer’s web site. [online]. accessed january 7, 2014. available from : http://penelope.uchicago.edu/thayer/e/roman/texts/ secondary/smigra*/curator.html

PART THREE

PHOTO ARCHIVE

“interconnectivity & live art�

“interconnectivity & live art�

“interconnectivity & live art�

“...to be continued�- vagia kapousidou

“interconnectivity & live art�

“remembering wegman�- irene atmatzidis

“Interconnectivity & Live Art”

“mercurial memoria”- daz disley

“Interconnectivity & Live Art”

“(dis)remembering�- fenia kotsopoulou

“white noise”- francesca fini

“1952”- chiara mazzocchi

“Interconnectivity & Live Art”

“memories�- serena salvadori