ATHENS TOP NEWS
Athens , 25-05-2016
New York, 24-05-2016
ATHENS EVENT HIGHLIGHTS
16TH ATHENS JAZZ FESTIVAL (29-05-2016 11:00 pm) A total of 18 bands with some serious chops are slated to perform at the 16th Athens Technopolis Jazz Festival in the hip downtown Athenian district of Gazi from Wednesday, May 25th through Sunday, May 29th. The event will also feature a series of parallel activities aimed at all ages. Admission to all of the concerts, which start at 21:00, is free of charge. Organizers hope this latest edition will match if not surpass last year’s attendance success, which saw around 30,000 jazz fans flocking to the open-air Technopolis venue for the various concerts and special events that are organized in parallel. The festival opens on Wednesday, May 25th, with performances by two local acts, the municipal Athens Big Band and Momo Trio, which presents original work from its latest vinyl album release. The evening will close with Portugal’s Mario Laginha Trio performing contemporary numbers. Israel’s Gilad Hekselman and Yotam Silberstein, Hungary’s Veronika Harcsa and Balint Gyemant, Norway’s Marius Neset and the Kratochvil, Ackerman and Zangi Jazz Trio from the Czech Republic will go on stage on Thursday, May 26th. Friday, May 27th, the festival’s third day, kicks off with the Ineke / Dimitriadis / Stanik / Guilfoyle Group from the Netherlands, followed by Luxembourg’s Pol Belardi’s Force and Switzerland’s Beat Kaestli and Marc Perrenoud Trio. The Hidden Orchestra, founded by British musician, composer and producer Joe Acheson, is the evening’s final act. The Military Big Band of Athens will get things under way with some big sound jazz standards on Saturday, May 28th, followed by Belgium’s Pierre de Surgeres Trio, Spain’s Nono Garcia and Pablo Novoa and the Naoko Sakata Trio from Sweden. An appearance by Greece’s TriCoolOre featuring Cypriot trumpet player Pantelis Stoikos will open the festival’s final day on Sunday, May 29th. Next on stage is Quadro Nuevo from Germany, while the festival will close with Turkey’s Erkan Ogur and the Telvin Trio. For more information, go to www.technopolis-athens.com. Venue: Technopolis, 100 Pireos, Gazi.
STUFF+ (18-06-2016 2:30 pm) The Hellenic American Union and the Hellenic American College (HAEC), in cooperation with the Hellenic American University (Manchester, NH, USA), proudly present the group exhibition Stuff+. Curated by art historian Louisa Karapidaki, the exhibition features works by Eozen Agopian, George Giotsas, Michalis Katzourakis, Harris Kondosphyris, Aphrodite Liti, Eleni Tzatzalos, Panos Famelis, Joseph Beuys, François L'Hotel, Pavlos (Dionyssopoulos) and Paweł Warchoł. The exhibition opened on Thursday, May 19th 2016 in the Hellenic American Union Galleries (Massalias Street 22, Kolonaki) and will last until June 18th, 2016. The following remarks belong to curator Louisa Karapidaki: “…Capturing the wear and tear of substance and materials, the visual artists attempt to aesthetically redefine minor traces of everyday wear and transform the images of accumulated erosion into art. Snapshots of everyday scenes (roads, buildings, objects, walls, sidewalks, shop windows, etc.), that are otherwise faintly visible or go totally unnoticed, are identified, recorded and transformed into non-identifiable figurative references by means of completely different visual media (François L'Hotel, Michalis Katzourakis, Paweł Warchoł). The artworks acquire a new aesthetic identity and engage in discourse with the works of other artists, who either use various pure materials (wool, oil paint, threads) to shape their images through the systematic transformations of these selected materials (Aphrodite Lilti, Eleni Tzatzalos, Eozen Agopian, George Giotsas, Panos Famelis, Harris Kondosphyris) or use those materials as expressive means in themselves, bestowing an overemphasized materiality upon their works (Pavlos, Joseph Beuys). All of the above compile an international and universal creative vocabulary of matter.” Museographic Design: Louisa Karapidaki François L’Hotel. Artists: Eozen Agopian, George Giotsas, Michalis Katzourakis, Harris Kondosphyris, Aphrodite Liti, Eleni Tzatzalos, Panos Famelis, Joseph Beuys, François L'Hotel, Pavlos (Dionyssopoulos), Paweł Warchoł. Duration of exhibition May 19th – June 18th, 2016. Hours of Operation: Monday – Friday: 12:00 – 21:00; Saturday: 10:30 – 14:30, closed on Sunday. Admission Admission is free. For more information: Division of Cultural Affairs (210 3680052) www.hau.gr/culture. Venue: Hellenic American Union Galleries (Massalias Street 22, Kolonaki).
THOMAS HOPE EXHIBITION (25-09-2016 6:00 pm) 60 works of Dutch and British merchant banker, author, philosopher and art collector Thomas Hope (1769-1831), which present Istanbul during the era of the Ottoman Empire, are hosted in an exhibition titled “Thomas Hope: Drawings of Ottoman Istanbul” at the Benaki Museum of Islamic Art. The exhibition, which opens on Thursday and will last until September 25, 2016, was described by Turkish Ambassador to Greece Kerim Uras as a “pleasant cultural break in the relations of the two countries.” Thomas Hope (1769-1831), a scion of a wealthy banking family, went on a Grand Tour, the traditional trip to Greece and Turkey for the young men of his class, during the last quarter of the 18th century. Virtuoso, with unique collections of antiquities, sculptures and European paintings, a generous sponsor and an expert in the fields of architecture and decoration overturned the artistic settings of his time, leaving his mark on the period of the Regency. The exhibition reveals the artist’s works from the capital of the Ottoman Empire. More specifically: Topographic views and folding panoramas of Istanbul, individual scenes from different neighbourhoods of Istanbul, monuments, temples, Ottoman palaces, halls of the seraglios, gates, mosques, funerary monuments, fountains, gates, the yalı on the Bosporus, the sultan’s entertainments boats. Other scenes include details from market shops, coffee shops, images of various men, women with children of Istanbul, depictions of costumes, architectural details, accompanied by lengthy explanations and descriptions with comments. The works are of excellent quality because Thomas Hope was an unparalleled designer, a virtuoso of linear draftsmanship comparable to the qualities of a miniature painter. His works, 350 in total, were kept in his personal library bounded in five volumes, which disappeared after his death. The international scientific community thought they were lost, but in fact they had been bought by Antonis Benakis in 1930 and were kept at the museum’s library. After an extensive search, they were discovered in 1984 by the exhibition’s curator and History Professor Dr Fani Maria Tsigakou. However, the importance of the Thomas Hope collection is not limited to the aesthetic pleasure it offers to art enthusiasts. The designs constitute a unique treasure of visual testimonies for the scholars of the Ottoman civilization. Venue: The building complex in Kerameikos. The Islamic art collections of the Benaki Museum are housed in a complex of neo-classical buildings located in the historical centre of Athens, in the Kerameikos district. Major archaeological sites located in the same area include the grounds of the ancient Agora (currently undergoing development), the Doric temple of Hephaestus (the "Theseio") and the Museum of the ancient Kerameikos necropolis (cemetery). This complex of buildings at the corner of Agion Asomaton and Dipylou streets, was donated to the Museum by the late Lambros Eftaxias, who in his later years served as Honorary President of the Museum Board of Trustees.
ATHENS & EPIDAURUS FESTIVAL 2016 (30-09-2016 9:00 pm) The Athens & Epidaurus Festival’s program, as well as the presale date, were announced on May 16th, 2016. For more information: www.greekfestival.gr.
DOCUMENTA 14 (31-08-2017 8:00 pm) On October 6th, 2014, a symposium titled "documenta 14, Kassel: Learning from Athens" was held at Kunsthochschule (Academy of Fine Arts) in Kassel, Germany, at the invitation of the academy. Organized by the team of documenta 14, and led by Artistic Director Adam Szymczyk, the symposium presented key members of the next documenta organization, as well as discussed essential ideas and thematic concerns of the exhibition project as a whole, scheduled to take place in 2017. The city of Kassel has been the host of documenta since its inception in 1955. Likewise, over the past thirteen editions, documenta has served as host to many artists and cultural practitioners from around the globe. But, ultimately, this position of host-with all the privileges involved-appears to be no longer tenable and begs to be questioned, if only temporarily. To this end, Szymczyk introduced documenta 14's planned twofold structure: In 2017, documenta 14 will establish a second site-Athens-bringing Kassel and the Greek capital onto equal footing as the two locations of the exhibition. Thus documenta's undisputed position as host will be abandoned for another role, that of guest, in Athens. Szymczyk noted that the main lines of thinking behind this move are manifold. They have to do with the current social and political situation both in Europe and globally, which motivates artistic action. Further, they indicate the need to embody in documenta 14 the palpable tension between the North and the South as it is reflected, articulated, and interpreted in contemporary cultural production. The challenge involves avoiding the traps of binary logic, while resonating with changing realities. To that end, instead of the singular spectacle, with its clearly designated location and temporal order, typical for great international exhibitions, documenta 14 will comprise two iterations set in dynamic balance in space and time. The distance between Kassel and Athens will fundamentally alter the visitors' experience of documenta 14. A feeling of loss and longing brought about by geographic and mental displacement created by two distant iterations of the exhibition might change the visitors' perception of the show, working against the idea of rootedness and countering the widespread, normative assumption that such an exhibition must sustain the unity of action, place, and time. Challenging this state of things, documenta 14 will attempt to encompass a multitude of voices in, between, and beyond the two cities where it is situated, reaching beyond the European context from the vantage point of the Mediterranean metropolis, where Europe, Africa, the Middle East, and Asia face each other. The diverse and diverging locations and socioeconomic circumstances of Kassel and Athens will come to bear on the very process of creation of the exhibitions, while inspiring and determining its individual works of art. For documenta 14, the participating artists will be invited to think and produce within the dynamic between these two cities. The working schedule envisages documenta 14 to open in Athens in April 2017; it will then be inaugurated two months later in Kassel, on June 10. This will ensure that there will be a month of overlap, with two parts of the exhibition running in parallel. Moreover, though each iteration of the exhibition will be developed as an autonomous project, they will inform each other's content while not repeating the form, with several distinctive venues in Athens, as in Kassel. Documenta 14 intends to learn from the city of Athens and its citizens, instead of parachuting a prepackaged event from Kassel into one or several picturesque venues. Rather than being merely a sum of two destinations, documenta 14 will unfold in a three-year-long process of learning and producing knowledge, while also engaging in the process of instituting spaces for public life in both locations. In this process, both cities' communities will become involved, contributing to the project. Already, over the course of 2013 and 2014, several instructive meetings have taken place in Athens with a number of the city's cultural producers who represented the diversity and contradictions of the Greek context today, beginning an ongoing discussion of collaboration with certain institutions there. In parallel, similar discussions have been led in Kassel. Greece in 2014 is not an isolated case; it is emblematic of the fast-changing global situation, and it embodies the economic, political, social, and cultural dilemmas that Europe must face today-much as Kassel in 1955 embodied the need to deal with the trauma of destruction brought about by the Nazi regime and simultaneously served as a strategic location at the onset of the Cold War. If Athens exemplifies the current issues that extend beyond the proverbial notion of the "Greek Crisis," these problems-which are as much European and global as they are Greek-remain unresolved. Yet they present us with an opportunity to open up a space of imagination, thinking, and action, instead of following the disempowering neoliberal setup that offers itself as (non)action implied in the (non)choice of austerity. While the specific timing and choice of locale of Kassel in 1955 were precisely the factors that allowed documenta to develop into a now half-century-old venture, those sociopolitical parameters that made documenta urgent are no longer in play. This sense of urgency, then, must be found elsewhere. Szymczyk and his team concluded by noting that documenta 14-in its temporary displacement and doubling of perspectives-would enable those artistic strategies that reach toward the reality of a contemporary world, one understood as a place for a multitude made up of individuals, and not as a territory defined by hegemonic relationships that make it a place of suffering and misery for many. It is this world that will be addressed in the exhibition, the world larger than Germany or Greece. Author: http://www-en.elculture.gr.