a gathering

Exhibitions

1

6

Andreas Aggelidakis, Your Constructions are a Gamble (Tweaked Archive from Architektoniki Magazine 1960’s), courtesy GloriaMaria Gallery, Milano, Kolonaki
Christos Papoulias, Monumental Debris, courtesy the artist, Koukaki
Olaf Nicolai, Untitled, courtesy Eigen und Art, Berlin / Leipzig, Amalias Str.
Istvan Laszlo, Diadem, courtesy the artist, Valtetsiou Str.
Robert Montgomery, Corfu Poem, courtesy Galerie Annalix-Forever and the artist, Amalias Str.
Pie Roenicke, Greece, January 2nd March 8th 2012, International Herald Tribune, Wall Street Journal, New York Post, Front Page, Kolokotroni Str.
Andreas Aggelidakis, Your Constructions are a Gamble (Tweaked Archive from Architektoniki Magazine 1960’s), courtesy GloriaMaria Gallery, Milano, Kolonaki
Andreas Aggelidakis, Your Constructions are a Gamble (Tweaked Archive from Architektoniki Magazine 1960’s), courtesy GloriaMaria Gallery, Milano, Kolonaki
Christos Papoulias, Monumental Debris, courtesy the artist, Koukaki
Olaf Nicolai, Untitled, courtesy Eigen und Art, Berlin / Leipzig, Amalias Str.
Istvan Laszlo, Diadem, courtesy the artist, Valtetsiou Str.
Robert Montgomery, Corfu Poem, courtesy Galerie Annalix-Forever and the artist, Amalias Str.
Pie Roenicke, Greece, January 2nd March 8th 2012, International Herald Tribune, Wall Street Journal, New York Post, Front Page, Kolokotroni Str.

Contributors

Andreas Angelidakis, Pierre Bismuth, Banu Cennetoglu & Sylvia Kouvali, Stefan Bruggemann, Sarah Crowner, Eirene Efstathiou, Claire Fontaine, Ivan Grubanov, Hadley+Maxwell, Istvan Laszlo, Miltos Manetas, Costas Masseras, Robert Montgomery, Ciprian Muresan, Anja Kirschner & David Panos, Maria Papadimitriou, Christos Papoulias, Eftihis Patsourakis, Dan Perjovschi, Olaf Nicolai, Pia Rönicke, Tobias Rehberger, Yann Sérandour, Nasan Tur, Vangelis Vlahos, Oriol Vilanova, Ala Younis, Carla Zaccagnini.

Curated by:

Maria-Thalia Carras & Olga Hatzidaki

Dates:

08.06.12-08.07.12

28 artists created art works in the form of a poster in response to some sort of lived experience or imaginary association they might have of Greece.

We wanted the project to be as open and as democratic as possible. The posters were set free and disperesed throughout Athens, through every medium possible: pasted on to the streets in central Athens, on the web, and in printed press and finally gathered together, ensuring that the project be as open and as democratic as possible. Limitless copies of the posters were printed and scattered, through the city, defunct of any curatorial control.

The two phases of the project, one as part of everyday matter and the other, where all the posters are gathered together as one whole, are equally relevant to the workings of the project. In the first case, they appear as lonley apparitions within disparate contexts giving meaning to the urban landscape, and in the other, gathered together, the posters themselves interact creating a new discursive whole.

A gathering delves into questions of place, and the complex processes of memory in defining relationships with them. The posters represent artists’ ability to crystalize questions regarding identity either through lived experiences or through the comples process of imaginary or fantastical associations.

A gathering is unavoidably political, as any gesture that posits itself in an and amongst living matter would be. Yet the posters manage to be simultaneously both topical, relevant as well as timeless and universal.