FFF4 | INTERNATIONAL SYMPOSIUM: "ON HOMELANDS AND THE STATELESS AS THE WORLD TILTS RIGHT"

May 13 → 14

FAST FORWARD FESTIVAL 4

International Symposium: “On Homelands and the Stateless as the World Tilts Right”

sgt.gr/fff4 1

13-14 May Saturday 13 May | 10:30-19:00 Sunday 14 May | 11:00-18:00

Onassis Cultural Centre | Upper Stage The symposium will be held in English.

FAST FORWARD FESTIVAL 4 International Symposium: “On Homelands and the Stateless as the World Tilts Right�

Creative Time and Fast Forward Festival come together in Athens to co-present an international symposium investigating the challenges facing artists and activist communities under prevailing economic and political conditions.

The symposium brings together representatives from cultural organizations across the globe and working locally (North America, South-East Asia, Middle East, Latin America, Europe, South Asia, Southern Africa, Greece), who have each invited artists, activists, social workers, and scholars from the same geography, to share critical, practice-based perspectives on art and politics as experienced from their specific regions.

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Co-organized by The Onassis Cultural Centre and Creative Time (New York), the international symposium, part of the Fast Forward Festival, “On Homelands and the Stateless as the World Tilts Right” will serve as a discursive platform offering expressions of solidarity, interdependence and resistance in this critical moment.

Taking its cue from the Fast Forward Festival’s thematic interest in transcending borderlines, the symposium brings together seven international and two Greek panels of artists, curators, cultural administrators, and organizers to provide geographically diverse, transdisciplinary, on-the ground accounts of political and aesthetic tactics to effectively mobilize in the face of statelessness, virulent nationalisms, and increasingly precarious livelihoods.

Athens today is witness to two of the world’s most urgent, and lived, issues. The destruction wrought by the Syrian war has caused thousands to flee to Greece’s shores. At the same time, a strict austerity regime and the resurgence of neoliberalism have caused a multifaceted social crisis. Globally, these events have found terrifying handmaidens in the rise of xenophobia, reactive populism, and waning support for internationalism. At this critical conjuncture, the “On Homelands and the Stateless as the World Tilts Right” symposium will address the challenges facing progressive artists and activist communities under prevailing economic and political conditions.

Katia Arfara & Nato Thompson

Curated by: Katia Arfara, Artist Director of Theatre & Dance, Onassis Cultural Centre (Athens) Nato Thompson, Artistic Director, Creative Time (New York) Director of Creative Time Summit: Sally Szwed Organization: Marina Troupi Coordination: Teal Baskerville Cover photo; Tania Bruguera, “Immigrant Respect”, 2011 © Estudio Bruguera 3

SATURDAY 13 MAY

PROGRAMME

10:30-11:00

Welcome and Introductions Katia Arfara and Nato Thompson

11:00-11:45

Keynote: “What do we do when resisting is not enough?”

Tania Bruguera

11:45-12:45

Panel 1: “Where is South Africa Now, Now?” Athi Mongezeleli Joja, Zimasa Mpemnyama, Ziyana Lategan

12:45-14:15

Lunch with Options FoodLab

14:15-15:15

Panel 2: “How to be as radical as reality itself?”

Defne Ayas, Adam Kleinman, Natalia Antonova, Antonia Majaca

15:15-16:15

Panel 3: “How do indigenous symbolic representations help us visualize resistance?”

Miguel A. López, Gladys Tzul Tzul, Benvenuto Chavajay

16:15-16:45

Break

16:45-17:45

Panel 4: “How might artists bear witness?”

Radha Mahendru, Zuleikha Chaudhari, Norma Alvares

17:45-18:45

Panel 5: “How can cultural and social workers address issues of mental and physical repair, trauma, and loss?”

Katia Arfara, Nadina Christopoulou, Angela Dimitrakaki, Yunus Muhammadi, UNHCR Greece

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SUNDAY 14 MAY

11:00-11:15

Introductions Katia Arfara and Nato Thompson

11:15-12:00

Keynote: “Can we re-examine art historical legacies and knowledges to respond to current crises?”

Patrick D. Flores

12:00-13:00

Panel 6: “How can we re-imagine labor and life, work and border?”

Brigitta Isabella, Anjeline de Dios, Tintin Wulia

13:00-14:30

Lunch with Options FoodLab

14:30-15:30

Panel 7: “Is another commons possible?”

Beth Stryker, Nida Sinnokrot, Shela Sheikh

15:30-16:00

Break

16:00-17:00

Panel 8: “What are the opportunities and pitfalls in the complex landscape of social movements in the United States?”

Nato Thompson, Simone Leigh, Mary Kathryn Nagle

17:00-18:00

Panel 9: “Can the imaginary of art articulate a new conception of the Citizen?” iLiana Fokianaki, Michael Afolayan, Anna Apostolidou & Inaam Alibrahim, Theo Prodromidis & Nikos Agapakis

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Keynote: “What do we do when resisting is not enough?”

To resist is not enough. Streets filled with crowds can evoke the idea of a battleground or the building-up of an election. Use chants as if they were drums in order to spread the waves of commitment and slogans in order to highlight all the things that are wrong. But the streets are not enough. Be an active individual: it shows them you are not afraid. Learn the language of power, use the verbs they are scared of, publicly unveil their worst nightmare – act for them, not for us. Behave on a one-to-one scale with those you consider responsible. Laugh intelligently but never laugh before you begin. Laugh after your goal is achieved, after your opposition is tricked, conflicted and incoherent because you took their power away with a simple human gesture. Don’t laugh about what they do, laugh about what you were able to do to them.

What we know is not enough. Be persistent without tiring others. Use forms and actions that are legible for the resistance but new to the repressors.

The time you have is the time they are using to figure out how to respond.

Feeling good is not enough: create a political moment. frieze magazine 186, April 2017

Tania Bruguera Installation and performance artist Havana, Cuba/New York City/ Cambridge, Massachusetts Tania Bruguera is an installation and performance artist whose works often expose the social effects of the power of political force. She participated in the Documenta 11 exhibition and also established the Arte de Conducta (Behavior Art) program at Instituto Superior de Arte in Havana. Her work has been shown in the 2015 Venice Biennale, at Tate Modern, London, Guggenheim and MoMA, New York, among others. Bruguera has recently opened the Hannah Arendt International Institute for Artivism, in Havana a school, exhibition space and think thank for activist artists and Cubans.

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Panel 1: “Where is South Africa Now, Now?” As the world is said to be turning “right,” emerging narratives in South African political discourse emphasize the reality of white monopolization of capital and its colonial and imperialist legacies. From ‘service delivery’ protests by the poor and working class and calls from students to decolonize the university, to mainstream political agitations against white capitalist hegemony, we are bearing witness to the development of a national consciousness that demands systemic change. In the face of these global shifts, this panel, presented by three young South African activists, will consider the nation’s current cultural and socio-political landscape.

Athi Mongezeleli Joja Art critic, lecturer, activist and member of Gugulective Johannesburg, South Africa Athi Mongezeleli Joja is an art critic, lecturer and black consciousness activist based in Johannesburg. Joja is a member of the art collective, Gugulective. His work has appeared in various publications like Chimurenga Chronic, Mail & Guardian, the Feminist Wire and so on. He is currently working on a monograph on the anti-apartheid artist Dumile Feni, titled “Dumile and the Sketches of Jazz.”

Ziyana Lategan Researcher, lecturer Cape Town, South Africa Ziyana Lategan is a graduate student at the University of Cape Town. She has lectured at various South African universities on South African politics and history, and Development theory. She is presently engaged in research on anti-colonial resistance thought and practice in South Africa.

Zimasa Mpemnyama Activist, freelance journalist, editor, blogger and photographer Johannesburg, South Africa Zimasa Mpemnyama is an activist with the Black First Land First movement based in Johannesburg. She has worked and written for Reuters, eNCA, Live Magazine, Red Bull, The Con Mag, Africanah and Culture Review.

She is interested in Black Revolutionary Feminist thought, intersectionality and contemporary struggles for black liberation.

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Panel 2: “How to be as radical as reality itself?”

The right to speech, or more specifically, the age-old question of who gets to speak, for whom, and why, is embattled through various forms of social, political, and economic sanctions. This panel brings together writers, artists, and editors of varying stripes, and will pair two seemingly contradictory types of reporting—traditional news journalism and the theater—to delineate how forms of voice, be they factual or poetic, provide differing approaches to incite the public. The presentation will feed from Witte de With's arts & culture journal WdW Review (both online and in-print), with readings from its various sections as well as a conversation between the review’s founding editors, the editor of the Moscow Desk, and an invited thinker external to the project.

Defne Ayas Director, Witte de With Center for Contemporary Art Rotterdam, The Netherlands/Turkey

Adam Kleinman Writer, Curator, Educator and sometimes Performer New York, USA/The Netherlands

Defne Ayas is a curator, producer, and publisher in the field of contemporary visual art and its institutions. Ayas is currently the director of the Witte de With Center for Contemporary Art in Rotterdam, where she oversees an exhibition and publication program devoted the question of crisis, be it aesthetic, geographic, economic, communal, ecological, and even spiritual, and how artists and the art world can be active co-creators of politics, institutions and representations, if at all.

Adam Kleinman is currently editor in chief and adjunct curator at Witte de With Center for Contemporary Art, Rotterdam, where he co-runs WdW Review, and has led the curation of numerous exhibitions and public programs.

Previously he served as the agent for public programming for documenta 13. Kleinman was also curator at Lower Manhattan Cultural Council, where he created the interpretative humanities program “Access Restricted.” He is a frequent contributor to multiple books and magazines including, Artforum, e-flux journal, frieze, and Texte zur Kunst.

Natalia Antonova Pundit and Playwright North Carolina, USA/Russia/Ukraine Natalia Antonova was born in Ukraine and grew up in North Carolina. She works as a pundit and playwright. She has written for, among others, The Guardian, Newsweek, openDemocracy, Mashable, and Foreign Policy. She was the last editor of The Moscow News, Russia’s oldest English-language publication, before it was shut down by the government in 2014.

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Antonia Majaca Art historian, Curator and Writer Berlin, Germany/Croatia Antonia Majaca is an art historian, curator and writer based in Berlin. She is currently the leader of the research project “Incomputable” at the IZK Institute for Contemporary Art, Graz University of Technology and one of the curators on the Kanon Fragen at HKW Haus der Kulturen der Welt, Berlin.

Panel 3: “How do indigenous symbolic representations help us visualize resistance?”

Across Central America, indigenous resistance movements draw on various symbolic representational forms. How might a consideration of indigenous artistic practices that recognize the value of family wisdom and collective objects, communal land ownership and forms of governance, and alternate notions of wealth, work and authority, offer tools to confront the colonial wound and the memory of recent civil war? Bringing together researchers, activists and artists, this panel will foreground the relationships between heterogenous indigenous symbolic representations and contemporary indigenous socio-political struggles.

Miguel A. López Writer, researcher and Chief Curator of TEOR/éTica San José, Costa Rica

Gladys Tzul Tzul Maya K'iche' writer, Amaq' Institute researcher and activist Totonicapán, Guatemala

Miguel A. López is a writer, researcher and Chief Curator of TEOR/éTica in San José, Costa Rica. His work investigates collaborative dynamics and transformations in the understanding of and engagement with politics in Latin America in recent decades. His work also focuses on queer re-articulations of history from a Southern perspective. He has recently curated Equilibrio y Colapso. Obras de Patricia Belli, 1986-2016 at the Fundación Ortiz Gurdian, Managua (2017) and Teresa Burga. Structures of Air (with Agustín Pérez Rubio) at the MALBA, Buenos Aires (2015).

Gladys Tzul Tzul is one of the few Latin American intellectuals who has specialized in the study of indigenous forms of government and communal politics. She holds a PhD in sociology from Benemérita Universidad Autónoma de Puebla (BUAP) in México and a Masters in Social and Political Studies in Chile.

She is the founder of Amaq', an institute that provides legal advice to indigenous peoples.

As a public intellectual, she has been a forceful voice reflecting on and denouncing the genocide in Guatemala during the presidency of Efraín Ríos Montt (1982-1983). She is also a visual artist and belongs to the collective of indigenous photographers, “Con Voz Propia”.

Benvenuto Chavajay Multimedia artist San Pedro de la Laguna, Guatemala Benvenuto Chavajay graduated from la Escuela de Artes Plásticas in Guatemala City, Guatemala. He studied at the UNA Universidad Nacional de Costa Rica and most recently graduated from ESPIRA/ESPORA Escuela Superior de Arte in Nicaragua. He has presented solo exhibitions in Spain, Guatemala, and Costa Rica and his work is in the collections of the Museum of Latin American Art in Long Beach, California and the Artist Pension Trust Collection and El Museo del Barrio in New York.

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Panel 4: “How might artists bear witness?”

Exploiting productive tensions between the grammars of art and those of the law, KHOJ’s recent project Landscape as Evidence: Artist as Witness, featured the organization and its partners staging a hearing before a Commission of Inquiry, requesting that it consider the recently cleared River Linking Project.

The petitioners, KHOJ International Artists’ Association and theater artist Zuleikha Chaudhari, advised by a team of environmental lawyers and legal scholars, oppose the River Linking Project on the basis of the devastation caused to the environment. The staged hearing before the Commission looked into the merits of an enlightened perception of justice and alternative modes of measuring loss.

Premising art as a valid form of evidence and artists as valid witnesses, this panel considers how art, like the law, may be used to preserve justice and how artists may function as witnesses.

Radha Mahendru Curator, Writer, and Filmmaker New Delhi, India Radha Mahendru is a Curator and Program Manager at KHOJ International Artists' Association, where she leads the Community Based Art Practice program. She works closely with artists of the urban village of Khirkee in New Delhi, India, focusing on ecology, gender and geopolitics. Recently, Mahendru wrote The Horizon is An Imaginary Line, a semifictional illustrated account of a young Somali woman’s encounters as a refugee in India.

Previously trained as a filmmaker, she has directed and edited many commissioned and independent documentaries.

Zuleikha Chaudhari Theatre director and lighting designer New Delhi and Mumbai, India Zuleikha Chaudhari is a director and lighting designer based out of New Delhi and Mumbai, India. She uses archival documents to develop theatrical performances and to think about the relationship between the production of memory and the role of the archive. Her current projects explore performativity in law and legal truth-production in three court trials.

She is developing the theatre archive at the Alkazi Foundation of the Arts, New Delhi.

Her works have been shown at theatre festivals and exhibitions around the world.

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Norma Alvares Environmental activist, lawyer and founding member of Goa Foundation Goa, India Norma Alvares is an activist and campaigner of social and environmental issues and advocate of the Bombay High Court. For close to three decades she has argued, free of cost, for over two-hundred Public Interest Litigation cases on environmental issues, human rights, women’s equality, and animal welfare. Alvares is a trustee of Lawyers Collective and founder trustee of The Other India Bookstore Society.

Panel 5: “How can cultural and social workers address issues of mental and physical repair, trauma, and loss?”

The refugee “crisis” and the shocks of economic and political turbulence in Greece increased the need to create discursive platforms which introduce forms of togetherness and enable community dialogue. Often confronted with extreme social phenomena and “internal borders”, these collaborative working methods operate at the intersections of cultural and social practices focusing on silenced and vulnerable groups including refugee women and children, survivors of violence, people with disabilities. Can such solidarity networks promote empowerment and civic engagement of vulnerable groups with the tools of art and culture?

Katia Arfara Artistic Director of Theatre and Dance, Onassis Cultural Centre Athens, Greece Katia Arfara is a researcher, writer, teacher and curator. As the Theatre and Dance Artistic Director of the Onassis Cultural Centre, she founded the Fast Forward Festival which incorporates an expanded field of art practices, in 2014. Her essays have appeared in various journals and critical anthologies. Dr Arfara is the author of the book Théâtralités contemporaines (2011) and the editor of the special issue Scènes en Transition-Balkans et Grèce for Théâtre/Public (2016).

Nadina Christopoulou Anthropologist and Co-founder/ Coordinator of Melissa Network Athens, Greece Nadina Christopoulou earned her B.A. degree at McGill University, and her MPhil and PhD at Cambridge University. Melissa: Network of Migrant Women in Greece was founded in 2014 with the involvement of migrant women leaders, and today counts members from over 45 countries. Its purpose is to promote the empowerment, communication and active participation of migrant and refugee women, reversing negative stereotypes and making their distinct voices heard.

Angela Dimitrakaki Writer and Senior Lecturer in Contemporary Art History and Theory and Programme Director of MSc Modern and Contemporary Art at the University of Edinburgh Edinburgh, Scotland Working across Marxism and feminism, Angela Dimitrakaki’s research and writing focus on the subjects and conflicts of globalisation. She recently co-edited the special issue of Historical Materialism on social reproduction (2016) and she is currently co-editing a special issue on social reproduction and art for Third Text (2017).

Yonous Muhammadi President of Greek Forum of Refugees and Ambassador for White Ribbon Athens, Greece Yonous Muhammadi was elected president of the Afghan Community in Greece from 2009 to 2013. In 2010 he co-founded the Greek Forum of Refugees, and he was elected its President in 2013. He is a member of the European Migration Forum in Brussels and of the National Council against Racism of the Ministry of Justice. He received the “Alison Des Forges” Award for Extraordinary Activism from the Human Rights Watch in 2016.

United Nations High Commissioner for Refugees (UNHCR Greece) UNHCR, the UN Refugee Agency, was established on December 14, 1950 by the United Nations General Assembly. UNHCR is a global organisation dedicated to saving lives, protecting rights and building a better future for refugees, forcibly displaced communities and stateless people. In more than six decades, the Agency has helped tens of millions of people restart their lives earning Nobel Peace Prizes in 1954 and 1981.

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Keynote: “Can we re-examine art historical legacies and knowledges to respond to current crises?”

The current state of dispossession of the world compels us to reconsider the art history of the post-war period, which has witnessed exceptional catastrophes. From this perspective, this presentation will focus on co-suffering impulses from the Philippines, a country of inclement climate that is perceived as a fragile and yet prevailing source of sympathy and affective migrant labor.

Key works in various creative forms engage with the condition of a dislocale, offering the possibility of a transposition, and the southern moment of a common atmosphere.

Patrick D. Flores Curator, Professor of Art Studies Manila, Philippines Patrick D. Flores is Professor of Art Studies in the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). In 2013, he convened on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He curated the Philippine Pavilion at the Venice Biennale in 2015.

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Panel 6: “How can we re-imagine labor and life, work and border?”

While multinational corporations manage to subvert the state’s economic and geographical frontiers for the importation of cheap labor, sovereign border control regimes remain restrictive, increasing migrants’ susceptibility to forced labor situations. This panel will explore changes to spatial configuration and temporal organization in relation to Southeast Asian labor migration.

The growing precarity of care and creative migrant labor attests to intensified exploitation in capitalist work culture, blurring the boundaries between work and non-work spaces, times and identities. Participants in this panel will draw from extensive knowledge bases across fields such as geography, cultural production and migration to consider the parameters and possibilities for migration across increasingly fraught borders.

Brigitta Isabella Researcher; Member of KUNCI Cultural Studies Center Yogyakarta, Indonesia Brigitta Isabella is a member of KUNCI Cultural Studies Center, a research collective focusing on the intersections between theory and practice, combining creative experimentation and speculative inquiry. Since 2015, KUNCI has collaborated with Indonesian migrant domestic workers in Hong Kong and published a book titled Afterwork Readings, which engages with the production of knowledge in migrant domestic workers' literary works. www.kunci.or.id Anjeline de Dios Cultural geographer; musician Manila, Philippines / Hong Kong SAR, China

Tintin Wulia Artist, filmmaker, architect, and composer Brisbane, Australia Brisbane-based, Bali-born artist Tintin Wulia’s work investigates the flux of geopolitical borders, made and unmade by people.

Her interactive and participatory performance methodology usually takes form in games, engaging people in sociopolitical relationship models to foster critical dialogues. Wulia received training as a composer (BMus – Film Scoring, Berklee College of Music, Boston, MA) and architect (BEng – Architecture, Universitas Katolik Parahyangan, Bandung, Indonesia) before earning her PhD in Art (practice-based research, RMIT University, Melbourne, Australia).

Anjeline de Dios is a singer and cultural geographer researching the intersections of music, creative labour, migration, and mobility in Asia. She finished her PhD at the National University of Singapore in 2015. She is now currently Assistant Professor in the Department of Cultural Studies at Lingnan University, Hong Kong.

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Panel 7: “Is another commons possible?”

Set against the backdrop of a global intensification of nationalisms, statelesness, indebtedness and profit-driven privatization, this panel turns to social, artistic, architectural and institutional practices from (but not limited to) the Middle East, as potential resources and antidotes. The panel questions the place of culture, construction and cultivation in the informal reclaiming of urban and agricultural spaces and knowledge economies. The panel seeks to rethink our contemporary commons in an effort to supplant inadequate and exclusionary logics of sustainability, property and participation.

Beth Stryker Curator; Co-Founder of CLUSTER (Cairo Lab for Urban Studies, Training, and Environmental Research) Cairo, Egypt Beth Stryker is Co-founder of CLUSTER (clustercairo.org) a platform for urban research, architecture, art, and design initiatives in Downtown Cairo. Stryker has curated exhibitions and programs for D-CAF Cairo, Qalandiya International, Beirut Art Center, AIANY/ Center for Architecture (where she held the position of Director of Programs), and the MCA in Chicago, among other venues.

Shela Sheikh Academic; Editor; Lecturer and Convenor, MA Postcolonial Culture and Global Policy, Centre for Cultural Studies, Goldsmiths London, UK Shela Sheikh works within postcolonial studies, globalization, environmental humanities and visual cultures. She lectures and publishes internationally and is currently working on a monograph about martyrdom and witnessing, and a multi-platform research project involving artists, academics and activists around colonialism, botany and the politics of planting. www.gold.ac.uk/cultural-studies/staff/s-sheikh 14

Nida Sinnokrot Artist; Co-Founder of Sakiya – Art/Science/Agriculture residency program Jerusalem, Palestine Nida Sinnokrot’s artwork aims to subvert various technologies of control that give rise to shifting social, political and geographic instabilities.

Nida participated in the Whitney Museum Independent Study Program, is a fellow of the Rockefeller Media Arts Foundation and Akademie Schloss Solitude and is the Co-Founder of Sakiya Art/Science/Agriculture in Jerusalem.

Panel 8: “What are the opportunities and pitfalls in the complex landscape of social movements in the United States?”

The election of Donald Trump has rattled the landscape of the United States and the world. Riding on a campaign of virulent xenophobia and nationalist rhetoric, the Trump election inevitably affects the work of artist and activist movements on the ground. And while the most recent Women’s March (the largest protest in United States history) indicates a growing coalition to resist Trump, for many social movements the task at hand is much longer than this election cycle. Continuity also exists from the movements of now to those of the last decade. This panel offers three different voices whose registers in resistance and activism provide a glimpse into the evolving landscape of art and politics in the United States today from the Women’s March to The Movement for Black Lives to Standing Rock to Occupy Wall Street.

Nato Thompson Artistic Director, Creative Time Philadelphia and New York City, USA Nato Thompson is Creative Time’s Artistic Director. Since January 2007, Thompson has organized such major Creative Time projects as The Creative Time Summit (2009–2015), Pedro Reyes’ Doomocracy (2016), and Kara Walker’s A Subtlety (2014), among others.

He has written two books of cultural criticism, Seeing Power: Art and Activism in the 21st Century (2015) and Culture as Weapon: The Art of Influence in Everyday Life (2017).

Simone Leigh Artist and Founder of Black Women Artists for Black Lives Matter Brooklyn, USA

Mary Kathryn Nagle Partner at Pipestem Law PC; Executive Director of the Yale Indigenous Performing Arts Program Washington, DC, USA Mary Kathryn Nagle (citizen of Cherokee Nation) is a lawyer and playwright. She is currently a partner at Pipestem Law PC where she maintains an appellate practice focused on protecting tribal sovereignty and jurisdiction to restore safety for Native women and children. She is the Executive Director of the Yale Indigenous Performing Arts Program and has been commissioned by Arena Stage, Portland Center Stage, Rose Theater, and Denver Center for the Performing Arts.

Leigh’s practice incorporates sculpture, video, and installation, all informed by her ongoing exploration of black female subjectivity and ethnography. Her objects often employ materials and forms traditionally associated with African art; her performance-influenced installations create spaces where historical precedent and self-determination comingle.

Through her investigations of visual overlaps between cultures, time periods, and geographies, she confronts and examines ideas of the female body, race, beauty, and community.

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Panel 9: “Can the imaginary of art articulate a new conception of the Citizen?”

From Arendt's theories on the nation-state and the notion of citizenship, to today's harsh realities of marginalisation, racism and ultranationalism: what agency does art have in re-defining the notion of citizenship? How can we look at the realities of citizenship today if we follow the claim of Giorgio Agamben that “the refugee is the sole category in which it is possible today to perceive the forms and limits of a political community”? How do socially and politically engaged artistic practices operate within this framework and what are the questions that arise from such a claim through cultural practice? What agency does cultural education have – hand in hand with art – to reclaim a space of exclusion created by the nation-state?

iLiana Fokianaki Writer and Curator Athens, Greece and Rotterdam, Netherlands iLiana Fokianaki is the founder of State of Concept Athens, a non profit institution that promotes artistic and curatorial practices that comment on the current socio-political landscape. In 2016, she co-founded Future Climates, a platform that aims to propose viable futures for small-scale organizations of contemporary art and culture. Since March 2017 she is curator of Extra City Kunsthal in Antwerp. She has contributed to Frieze, Art Papers, artagenda, Apollo, MetropolisM a. O. Michael Afolayan Musician, Actor, Performer, Visual artist and Co-Founder of ANASA Cultural Center Athens, Greece The Cultural Center of African Art and Cultures ANASA is a Non-Profit and Non-Governmental Organization working for the elimination of racism, exclusion and discrimination, the promotion of multiculturalism and intercultural dialogue among peoples, and the empowerment and inclusion, through art and culture, of young people of African origin who were either born in Greece or came as migrants or refugees.

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Anna Apostolidou Principal Researcher/Project Coordinator, Project PRESS, Hellenic Open University Athens, Greece Inaam Alibrahim Project Collaborator, Project PRESS Athens, Greece Project PRESS (Provision of Refugee Education and Support Scheme, Hellenic Open University) produces multi-site ethnographic material on refugee education that inform the design and implementation of a series of educational activities and integration interventions for refugees residing in Greece. The project follows a multi-disciplinary and multi-media approach to implement educational interventions and awareness-raising activities throughout the spectrum of the humanities and social sciences.

Nikos Agapakis President of the Administrative Board, Piraeus Open School Athens, Greece Nikos Agapakis is a member and the President of the Administrative Board of Piraeus' Open School for Immigrants, with a vigorous presence in solidarity movements for the past 8 years.

Since 2005 the Piraeus' Open School for immigrants has been active in the field of solidarity education; the school relies on volunteer educators, basing its action on the fundamental principles of education, solidarity and culture.

Theo Prodromidis Artist and Filmmaker Athens, Greece Theo Prodromidis is an artist and filmmaker based in Athens. He is currently developing a project with the Piraeus Open School on public sphere and education through reclaiming citizenship. The research was developed while a Laureate of the Institut Français residency programme at the CitÊ internationale des arts and as a Fellow of the Onassis Foundation.

Special lunches will be created by Options FoodLab Options FoodLab is a community of locals and newcomers, using food as a catalyst for intercultural exchange, personal growth and social crossfertilization. Operating in Athens, Options have evolved from an experimental form of occupational therapy into a catering cooperative and a FoodLab. Options is now a professional kitchen and chef incubation space but maintains a strong community presence with numerous free events and workshops taking place all over Athens.

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