The Great Tini
Saturday 21st September 2019
Performers, Spyros Angelopoylos, Theano Metaxa,
Τhe Great Tini and the fabulous Phoebe are coming to Athens!
For one day only in our city! In the center of the Athenian capital comes the unique show of the Great Tini.
The Great Tini, after his terrific adventures around the world, in the most difficult fight of his career at Stoa42.
From the forests of Amazonia and the depths of Africa, Tini breaks his chains in a unique contest in the center of Athens.
Great Tini, with incredible power and with the help of the fabulous Phoebe, will try to break thick chain that was tied to him 200 years ago.
Hunted but never defeated, chained but always free, the Great Tini finally breaks his chains on September 21 at Stoa42 in Athens.
Don’t miss the opportunity! After Koutalianos and Jimmy the Tiger, the legend, the Great Tini only for one day at the streets of Athens.
He has been struggling for two centuries and he will try once more on September 21 at Stoa42. Will he succeed?
Curated by Kostis Stafylakis
Saturday 1st June 2019, 19.00
Performance: Thanos Ghikas,
Stoa 42 is pleased to present It’s me! by Panos Sklavenitis curated by Kostis Stafylakis.
In his recent work, Panos Sklavenitis experiments with the dynamics of absurdly tuned groupuscules. In 2018 6th Athens Biennale, Sklavenitis presented “Cargo”, a ritualistic Cargo cult dressed with rags and leftovers from Greek nationalist rallies. Recently, Sklavenitis designed a live action role play for art students. Each student has to learn to mimic an animal.
Most probably, this is not some posthuman attempt to “feel” the animal. This is not a “becoming animal”, but “it’s me”: An exercise in anthropocentricism, a treatise on the anthropocentric imagination, or a flirt with the sexual anxiety/fantasy triggered by animalistic mimicry. Sklavenitis looks into the orwellean tendency in post-digital art but cancels the didactism of the animal-image, sabotaging its allegorical usage in centuries of literature. The “artist and the animal” is an intertemporal trope; we should perhaps revisit some examples: From Valie Export walking Peter Weibel as a dog, to Joseph Beuys and the coyote, to Oleg Kulic’ Mad Dog performances, to cosplay aesthetics in recent works by Korakrit Arunanondchai & Alex Gvojic et.al.
Rather than alluding to the monistic tendencies in theories of posthumanism (all is part of the same life force, which facilitates the creative trespassing of epistemic boundaries), Sklavenitis exposes the ontic dualism of the (post-)digital era and subjectivity. For the seamlessly online self, the animal becomes animalistic, material ectoplasm, the dark-side of the digit, or the other of the (bio)metric. In the (post)digital era, the animal tends to be depicted, via dualism, as monstrous, a crack in the algorithm, the sinister transgressivity of the animal-headed troll, the vitalist fantasy of a “dark-web”. In this predicament, the animal is a god symbol of trollish subversion. Sklavenitis visits this dualism, and risks to restage it by performative means. His “animals” are avatars cum flesh, ruins of the popularized fantasy of an anonymous revolt against civility, galvanized for more than two decades on row.
The animalistic mimicries presented by Sklavenitis and his performers are products of a certain type of authority, gracefully embraced by the artist. He mostly works with art students and, by stepping into the shoes of the game master, he introduces them to role-play. Together, they serve the gamification of the cityscape through long-term processes of rehearsal, trial and error, and debriefing. Sklavenitis suggests and gratifies certain animalistic semblances produced by his students, without intention to obscure his authorial supervision or oversight. In contrast to earlier experiments with the animal, Sklavenitis exempts himself from the act of mimesis. He unapologetically animalizes others, acknowledging the power play on behalf of all sides involved. Eventually, he explores this failure to instrumentalize the other, which is stressed by the very tautology of authorship inscribed in the confessional title, “it’s me”. This is neither trespassing nor “becoming”. This is mimicry for the sake of the mimetic. These performances propose that, in some cases, mimicry is neither part of some emancipatory plan, nor the direct extension of the artist’s ethical position. Mimicry is, also, a trial with no sublime goal.
23.2 - 17.03.2019
Decodrama, a solo show by Fabio Ramirez Enrique, draws on a compilation of diverse physical elements to speak about unrequited feelings, uncertain futures, mechanisms in constant movement. Fluctuating materials, found objects, plastic constructions, visual and other loops are coming together through variations of concrete, aiming to bring desire back to life. The work’s narrative operates as a choreographed gesture for holding auto-fictional schemes, for re-inventing functional purposes, for staying with erotic oxymora. Decodrama is a comment on the solvent intersection of praise and mockery, beginning and end, personal and collective.
The show will be accompanied by a publication operating as an instagram correspondence between Fabio Ramirez Enriquez and Ioanna Gerakidi.
Fabio Ramírez (born in Spain, 1990) living and working in Granada. After his studies in Psychology at Universidad de Almería, he got a Bachelor degree in Fine arts at Universidad de Granada, Spain (2014). Fabio holds a Master in Visual Arts (2016) from the Royal Academy of Arts in Antwerp focusing in site specific arts/ installation art. For his Master thesis he was awarded in 2016 with the Hugo Roelandt Estate Price by the Royal Academy of Arts. His work has been presented in various solo and group shows in Spain and abroad (Mexico, Russia, Belgium, Greece).
Ioanna Gerakidi is a writer, curator and educator based both in Amsterdam and Athens. She holds a BA in Media and Communication Studies (University of Athens) and an MA in Critical Studies (Sandberg Instituut).
Erifili Veneri & Naira Stergiou
5 - 27.01.2019
αινώς αθανάτησι θεής εις ώπα έοικεν
φρικτά με τις αθάνατες θεές μοιάζει στην όψη.
η ομορφιά θα σώσει τον κόσμο
η ομορφιά θα πρέπει να σώσει τον κόσμο
αχ. ας σώσει η ομορφιά τον κόσμο
με μυστήριο υπέρ.
και δέξου. δέηση.
The artistic installation “Beauty Temple” by Eriphyli Veneri and Naira Stergiou is composed in different sculptures, devoted to the Sanctity of Beauty.
The invocation of the beautiful-Beautiful, the demonization of the horrible-Beautiful and the desire of the unattainable-Beautiful, mutate into tangible entities and acquire materiality through flexible imitations of leather, shiny pearls, gold coins, along with materials for memorials, colourful butterflies and incense.
The aesthetic objects of the installation, arranged in a dramaturgic, almost ritual narration, display their double quality as literal objects and as significant marks, fetish objects. As ritual references with metaphysical powers, magic thoughts and wishes for the discharge of the agony and the fulfilment of the dipper wishes and desires.
Toiletries and jewellery, crowns, gloves that cannot be worn, are dedicated for appeasing; prayers, ex-votos, offerings, spells, donations. Sacrifices. Everyone is welcome.
In the Temple of Beauty the Goddess is standing, listening. And demands.
Eriphyli Veneri (1983, Athens) studied Painting at the Athens School of Fine Arts and undertook postgraduate studies at the Public Art and New Artistic Strategies program of the Bauhaus University Weimar in Germany with the support of the Alexander S. Onassis Public Benefit Foundation. She also completed second postgraduate studies at the MA Art in Context program at the University of Arts Berlin with the support of the Basil & Eliza Goulandris Foundation. She is currently a PhD candidate at the Department of Architecture of the University of Thessaly with the support of the Greek State Scholarship Foundation.
Naira Stergiou (1984, Athens) studied Painting at the Athens School of Fine Arts and undertook her first postgraduate studies at the Koninklijke Academie voor Schone Kunsten in Antwerp, Belgium (MFA). She completed second postgraduate studies at Campus Sint Lucas Antwerp (Master of Research in Art & Design). She also attended courses of Theology at the Orthodox Onderwijs, Theologisch, Instituut Saint-Serge in Gent, and then proceeded her to third postgraduate studies in Modern Greek Literature at the University of Crete. She is currently a PhD candidate at the Athens School of Fine Arts.
19.05.2018 - 16.06.2018
In 1817, during his exile in Brussels, Jacques Louis David painted the work Love and Psyche depicting Cupid and Psyche.
Florent Frizet driven from his passion about the history of painting and especially for the genre of history painting attempts to revisit the Old Masters. True istoria such us biblical and religious scenes but also fabula such as pagan myths, allegories and mythology intrigue him. In the recent years the popularity of this genre has widely been waned. Frizet tries to revise its themes and form through an attempt to discover how certain gestures and figures have survived until today. The reactivation of emblematic paintings is a process of researching art history, an attempt to place them in todays’ sociopolitical context. The characters lose their identity and the landscapes become a land without a name where the ideas and the lost virtues dominate.
Florent Frizet (b. 1989) born in France, currently lives in Athens. He has graduated from the Ecole Nationale Supérieur des Beaux-Arts de Lyon. Selected exhibitions include Athens and its periphery in regards to contemporary paintings, The Breeder Gallery, Athens (2017), Even Closer to the Stars at the Institut Francais, Athens (2017), Elysee, Super, Athens (2017) and more.
Artists & designers from the Dirty Art Department, Sandberg Instituut occupy Stoa42
19.05.2018 - 16.06.2018
Artists & designers from the Dirty Art Department, Sandberg Instituut, Amsterdam
Every Wednesday and Saturday, from May 19th to June 16th at 20.00
Stoa 42, Panepistimiou 42, Athens
Stoa 42 is pleased to host a series of events organized by artists and designers from the Dirty Art Department, Sandberg Instituut, Amsterdam. A rapid succession of short term exhibitions, performances and events, created especially for the space by Leslie, Leo, Dani, Walter, Rachele, Sun Chang, Tomasz, Anna, Andrea, Quentin, Selma and David.
This March, many of the group walked two-hundred kilometres from Delphi to Athens and, having arrived, decided to stay. They worked first within a former hospital clinic turned community centre and then came to Omonia square, where they made their new headquarters, with all members, in the empty halls of the Bageion hotel.
Over a course of five weeks, from May 19th to June 16th, every Wednesday and Saturday at 20.00 we expect you to join us at Stoa 42 to experience both the individual and communal adventures of this exciting group as they continue their journey in Athens.
Saturday 19 May – Introducing…, by Leslie Lawrence & Leo Ravy
Wednesday 23 May – Dani’s Astral Workshop From…, by Dani Andres
Saturday 26 May – "Parts of this are non cerebral"...Adventure time with mister Hanuman, by Walter Götsch
Wednesday 30 May – Dippold’s Delusions, by Rachel Monti
Saturday 02 June – Posa Lefta, by Tomasz Skibicki
Saturday 09 June – Αυτό το κάτι άλλο, by Jean-François Peschot & Sun Chang
Wednesday 13 June – Gucci Nugget
Saturday 16 June – Take a memory of Greece, David Haack Monberg
Panos Profitis & Despina Charitonidi
28.03.2018 - 15.04.2018
Stoa 42 is pleased to present Fragile Nets a show by Panos Profitis and Despina Charitonidi curated by Eleni Riga.
The exhibition deals with urban ecologies, the fragile networks of relationships and interactions in the center of Athens, taking as a starting point the closed metal grids of stoa 42.
The grid indicates any network of any number of dimensions literally or metaphorically and is often used in physics to describe physical phenomena and their interaction, such as gravity or electromagnetic fields. At the center of the exhibition Fragile Nets, there is the repeated pattern of the grid in an attempt to capture the fragile urban reality. As a starting point, Profitis and Charitonidi, take the exhibition space itself, an old photographic shop, which has been operating for 40 years in the center of Athens and closed, like most of the companies at the same walkway, with the change of technology, the transition from analog to digital photography and in parallel the economic crisis. Their in situ intervention is a result of close observation of the transformation of the urban landscape and the study of the psychology of its inhabitants. The networks of people and narratives create fragile urban ecologies, interconnected and interdependent.
The image of the closed metal grids becomes the new stereotypical image of Greece constrasting EOT (Greek National Tourism Organization) advertisements. The metal grids have a dual role: οn one hand, they ensure the protection of private property against the demonstrations, characteristic of the city center and thus the sense of security, comfort and social status. On the other hand, they remind us of the control of patriarchal and capitalist society, policing and constant monitoring with modern technical means. These stores seem to be on hold, waiting for a continuously deferred tomorrow.
Panos Profitis (b. 1988, Athens) lives and works in Athens and Antwerp. He has studied at the Royal Academy of Arts in Antwerp and at the School of Fine Arts in Athens. In 2017 he had his first solo show at the Annie Gentils Gallery in Belgium. He has represented Greece at the Young Artist Biennial in Ancona, Italy, in 2013. He has participated in group shows in Greece and abroad.
Despina Charitonidi (b.1991, Athens) lives and works in Athens and Leipzig. She has studied at the University of Fine Arts in Rome and Utrecht. Her work has been presented at: MACRO - Factory Museum of Contemporary Art of Rome (2013), in Londonewcastle Project Space (2015), in Utrecht Centraal Museum (2015) and in Neu Now Online Amsterdam (2016) among others.
Black & NoData
Noises of Parallel Disaster
28.06.2017 - 12.07.2017
Stoa 42 is thrilled to present Noises of Parallel Disaster, an experimental project by Blaqk and NoData.
Based on the subject of urban noise and the way of escaping reality through parallel views of life, Noises of Parallel Disaster explores the functions of memory and how the city, the urban surroundings and contemporary life can affect our perception and pervade our minds, often transforming our memories and changing the idea of our past. Memory traces blend with our current experiences and fiction, often leading us to a distorted view of our past.
The collaboration through Blaqk and NoData is an ongoing experimentation project between form and image, texture and scenery. Simek and Greg (Blaqk) along with Markos Zouridakis (NoData) have been practicing graphic design and visual work together over two years of collaborations. In their work they mix different languages and mediums: Blaqks’ calligraphy, abstraction and geometry blends with the NoData’s photography and collage. Together they reflect on coexisting dualities and unexpected juxtapositions: past and present, reality and fiction, black and white, the collective practice and the individual gesture.
For the show at Stoa 42 they create a huge urban collage, in connection to the history of the space, a former photographic shop. The past of the space finds its perfect expression of reviving through the contemporary nostalgia of the three young artists.
On the occasion of the opening, a silkscreen print will be presented. At the opening the artists will be present.
You are on the stairs
06.01.2017 - 25.01.2017
Stoa 42 is pleased to announce the solo show You are on the stairs by british artist Angus Braithwaite.
Angus H. Braithwaite (Cumbria, 1984) lives and works in London. After completing his BA Fine Arts in Newcastle University, Angus moved to London where he continued his artistic practice at SLADE School of Art. He has shown across Europe, in Sweden, Germany and Cyprus.
Angus Braitwaite creates works that are based on narratives and story telling, that stem from a subconscious process based on deep seeded memories, personal stories, visual and art historical references. His works act as a dialogue between various mediums, such as performance, photography and video making, writing and installations that often take on the role of actors.
For his show in Athens he will be presenting You are on the stairs, an animated sculpture by a series of narrative based instructions.
A unique installation created exclusively for the opening of Stoa 42.
On the occasion of the exhibition a limited edition silkscreen print by Angus Braithwaite has been released, printed by Tind Silkscreen.