Project Category: Off-Site

Enterprise Projects is pleased to present the EP Journal binder in the context of the 2nd Athens Art Book Fair

φαινόμενα, a one-week program of contemporary art taking place on the Aegean island of Anafi, Greece, between 5–12 July, 2021, in collaboration with the invited art centres 3 137, EIGHT, Enterprise Projects, The Island Club and State of Concept Athens, from Greece and Cyprus. φαινόμενα —pronounced ‘phenomena’— is an alternative plural incarnation of Phenomenon. φαινόμενα reflects and responds to a period where space, social interactions, travel, and scale, have been warped and revealed as constructs of institutional powers. φαινόμενα hopes to explore these times as an opportunity to rethink space, in particular public space, not as an external container, but as something that both gets created by and shapes bodies in a continuous, political struggle.

The Collection Kerenidis Pepe and the Association Phenomenon are pleased to announce φαινόμενα, a one-week program of contemporary art taking place on the Aegean island of Anafi, Greece, between 5–12 July, 2021, in collaboration with the invited art centres 3 137, EIGHT, Enterprise Projects, The Island Club and State of Concept Athens, from Greece and Cyprus.

φαινόμενα —pronounced ‘phenomena’— is an alternative plural incarnation of the biennial project Phenomenon initiated in 2015. φαινόμενα reflects and responds to a period where space, social interactions, travel, and scale, have been warped and revealed as constructs of institutional powers. φαινόμεναhopes to explore these times as an opportunity to rethink space, in particular public space, not as an external container, but as something that both gets created by and shapes bodies in a continuous, political struggle. Questions of spatialities, heterotopias, small-scale initiatives, togetherness, and care that can be negotiated through research, art projects, and social activities, will serve as the start for our work together, always in close relation to the island of Anafi, its present, its histories and its human and non-human inhabitants.

Each invited art centre will have one day to orchestrate an event, a performance, a screening, a workshop, a lecture, a discussion, a reading, a display, that would function as a chapter in a longer open-ended story that unfolds over the week. Public open spaces will be given preference both as a direct relation to the project research and also to mitigate covid-related risks. All necessary precautions will be implemented to protect the inhabitants of Anafi, the participants and the visitors.

It’s Time All the Time for Radical Friendship is a project initiated by Swimming Pool at the time of lock-down due to the Covid-19 pandemics, that aims to enable an attentive interrelation between art organizations, in order to make concerns, politics and action, but most of all invention, shareable across different contexts and ecosystems.

The practice of reflection on instituting as invention is central to the program of Swimming Pool that has been defined by the relation of the exhibition space to the empty pool on the terrace: since the founding, both cubes – the white and the blue – appeared to be intrinsically entangled, and it was by invoking, living, and expanding this entanglement that Swimming Pool has been instituting itself ever since. Later, this entanglement also gave rise to an educational program for founders and curators of art organizations – as different as project spaces, collectives and initiatives, micro institutions –, whose aim was to broaden the scope of reflection on instituting and curating via an institution, mainly by involving the experience of different actors and contexts. As a result, it seeded the ground for many institutional friendships to grow together.

It’s Time All the Time for Radical Friendship is, thus, guided by the need to continue the conversations with our befriended organizations – Apparatus 22, ODD, fluent, TIER, Enterprise Projects – that would allow to better comprehend the circumstances that are given to similar organizations, and cultivate a ground for coming together. To call for “radical friendship” is to ask to pay utmost attention to complexities, desires and vulnerabilities surrounding each of our practices, and make such awareness central when growing common structures. It is also carried by the belief that such an encounter would allow for a better understanding of our situatedness and responsibility, while layering on our actions of care and solidarity.

It’s Time All the Time for Radical Friendship, however, is not a plea only for those involved in this frame. Through the project, we believe that we are able to better identify the social and political relevance of art institutions that are not bound to the market as commercial galleries, or have representative purposes as museums and large institutions. Indeed, while the cultural sector worldwide has been immensely hit by the Covid-19 crisis and the art sectors have had to put again and again most of their their activities entirely on hold, it was such art organizations who transitioned through various cycles of self-reflexion, political work and institutional visioning that have enabled them to promptly resonate with recent transformations.

Another essential part of the project and its trajectories is, thus, its desire to draw the attention to the question of how we could institute better. Many art organizations all over the world let a pattern of institutional critique be shaped around decentralization, political involvement and care, on the one hand, and collaborative practices, on the other. Only through making space for individual and collective needs and particularities, vulnerabilities and responsibilities, we can allow invention to take place, and see social textures to emerge, with their own rhythms, resonance, and language, along with new laws and a state apparatus.

Another essential part of the project and its trajectories is, thus, its desire to draw the attention to the question of how we could institute better. Many art organizations all over the world let a pattern of institutional critique be shaped around decentralization, political involvement and care, on the one hand, and collaborative practices, on the other. Only through making space for individual and collective needs and particularities, vulnerabilities and responsibilities, we can allow invention to take place, and see social textures to emerge, with their own rhythms, resonance, and language, along with new laws and a state apparatus.

A conversation with Viktoria Draganova, Cristina Bogdan, Dragoș Olea, Lorenzo Sandoval and Benjamin Busch, Alexandro Alonso, Danai Diannoglou and Vasilis Papageorgiou, will be streaming on Swimming Pool’s YouTube channel this Friday, December 4th, between 18:00 – 20:00 CET.

The exhibition can be visited until Sunday, December 6th, after which an online version will be visible on the Futura website.

Enterprise Projects is pleased to present an extended trailer of Counter(-).

Counter(-) is an ongoing documentary project by Michailangelos Vlassis Ziakas which explores the political aspects of individual and collective interventions on the electricity system of Greece. Counter(-) was supposed to open in mid-May as a video installation at Enterprise Projects but that was not made possible due to the restrictions of the Greek government to avoid the spread of Covid-19. Enterprise Projects will soon announce the new dates of the exhibition which is rescheduled for Autumnn 2020, until then have a look at this:

Michailangelos Vlassis-Ziakas (b.1987) is a visual artist based in Athens, Greece. He studied painting at the Athens School of Fine arts (2007-2012) and completed his master studies on the domain of museology at University College London Qatar (UCLQ) in 2015. He participated in various group exhibitions and biennales in Greece and abroad.

His work is concerned with the representation of social and political disruptions and the constitution of political subjectivities and he is interested in exploring how the above take form in different contexts, and, furthermore, how they can be renegotiated in an age of growing mistrust to established institutions and ideologies.

Enterprise Projects is pleased to present an excerpt of
Counter(-). Counter(-) is a documentary video installation by Michailangelos Vlassis Ziakas which explores the political aspects of individual and collective interventions on the electricity system of Greece.

Counter(-) was supposed to open in mid-May 2020 at Enterprise Projects but this was not made possible due to the restrictions of the Greek government to avoid the spread of Covid-19. Enterprise Projects will soon announce the new dates of the exhibition which is rescheduled for Autumn 2020.

ATHENS X BETWEEN BRIDGES

Διάρκεια: 1-28 Ιουνίου 2020

Το Εnterprise Projects με πολύ χαρά συμμετέχει στο Athens X Between Bridges: 2020 Solidarity, μια πρωτοβουλία της πλατφόρμας του εικαστικού Wolfgang Tillmans Between Bridges Project που έρχεται να απαντήσει στην δύσκολη συγκυρία της πανδημίας του COVID 19 και έχει ως στόχο να ενισχύσει οικονομικά ανεξάρτητους πολιτιστικούς φορείς και να υποστηρίξει το έργο και την δραστηριότητα τους..

ΤοAthens X Between Bridges:2020 Solidarity είναι μία συλλογική καμπάνια οικονομικής ενίσχυσης.  Όλα τα έσοδα  θα διατεθούν σε μη-κερδοσκοπικούς χώρους σύγχρονης τέχνης στην Αθήνα.

Στην καμπάνια συμμετέχουν οι  3 137,Akwa Ibom,Enterprise Projects,ΎΛΗ [matter] HYLE,Radio Athènes,State of Concept,Victoria Square Project καιVoid.

Στο παρακάτω λινκ μπορείτε να βρείτε την καμπάνια και τις αφίσες που ειναι προς πώληση μεχρι την Κυριακη 28 Ιουνίου 2020.

https://gogetfunding.com/athensxbetweenbridges2020solidarity

Enterprise Projects is pleased to present the EP Journal binder in the context of the 1st Athens Art Book Fair

Eleni Bagaki presents text excerpts, images, objects and possibly a sound piece in the form of an exhibition with the title The importance of reading, writing, and exfoliating.

This is a story about a female artist who moves to Berlin in hope of finding a job and maybe love. During her stay, she develops a long-distance connection with the guy she sublets the flat from, while he travels in Asia. She spends most of her time indoors and gets to know him better by observing his objects in the house and reflecting on ideas about desire and traveling alone.

The profile of Bagaki’s heroine is carefully constructed based on a series of incidents. A living room and a bathroom which are a nest and a mirror. An exchange and then another exchange. One physical, one verbal. Then a third one, written. In the company of objects and textures she builds one chapter of her story, neither the first, nor the last one. Not knowing what you are looking for you’ll never find what you were waiting for. This could have been the lost script for a movie based on her life. Some pages and some persons are missing. She is the star, she and the reason why.

The importance of reading, writing, and exfoliating is part of an on-going project started a year ago when the artist left her base in Athens to live in a state of perpetual mobility. The places she goes to, the people she meets, and the stories she hears, become the material for her to examine the idea of the female wanderer.

Swimming Pool is delighted to invite you to join our international symposium on curating and art project spaces, which is part of our Curatorial School’s public program.

Our main interest lies on the potentials of independent curatorial activity towards creating spaces. Here, physicality is not a pre-condition; when talking of “spaces” we envision mid-and long term initiatives creating their own physical, imaginary and political conditions. Within the frame of a symposium will explore agency of project spaces, and how such initiatives can move society. We will also reflect on their irregularity (which consists in a low level of institutionalization, shared economy, as well as DIY culture) and how this allows for new types of institutionalization that correspond to how our environment is structured today. We will also pay attention to resonance and how to create spaces for joint thinking and imagining.

We would like to use the symposium to engage both participants and audience in a deep discussion on conceptual models, practical challenges and political potentials of project spaces. We will send to everyone who has registered a list with topics and questions to allow for a better preparation. Comments on your side are also more than welcomed!

Swimming Pool is delighted to invite you to join our international symposium on curating and art project spaces, which is part of our Curatorial School’s public program.

Our main interest lies on the potentials of independent curatorial activity towards creating spaces. Here, physicality is not a pre-condition; when talking of “spaces” we envision mid-and long term initiatives creating their own physical, imaginary and political conditions. Within the frame of a symposium will explore agency of project spaces, and how such initiatives can move society. We will also reflect on their irregularity (which consists in a low level of institutionalization, shared economy, as well as DIY culture) and how this allows for new types of institutionalization that correspond to how our environment is structured today. We will also pay attention to resonance and how to create spaces for joint thinking and imagining.

We would like to use the symposium to engage both participants and audience in a deep discussion on conceptual models, practical challenges and political potentials of project spaces. We will send to everyone who has registered a list with topics and questions to allow for a better preparation. Comments on your side are also more than welcomed!

The exhibition is held in a maritime context, not far from the new headquarters of Art-O-Rama – the J1 – facing the Mediterranean, a few hundred meters from the port of Marseille.

Smack in the middle of a space situated on a site dedicated to naval reparation near the dry docks, Margaux Barthélemy and Sans titre (2016) invite different emerging and independent forces to express themselves in a groundbreaking collective exhibition.

It is in a site bathed in this maritime and industrial context that the SM exhibition will be presented. 130m2 give out over an industrial zone with an ocean view. A favorable meeting grounds for international project spaces, emerging galeries, and young artists, linked by a common will to speak out from the margins of a highlight of contemporary art.

Emerging artists, a Viennese gallery, a Greek artist-run space, a Berlin project space, and a Belgian fictional identity artist and gallery are equally invited to take possession of this site for a collective and collaborative exhibition based on the inherent themes of the port context.

The maritime thought deployed by the works, that of voyage and misguidance, is inherent in the exhibition space itself and in the context of the city.

Each project was invited to propose the work of two to three of “its” artists, and the curatorial and layout decisions were taken collectively between all participants in the exhibition.

We have many reasons to celebrate, so Enterprise Projects is thrilled to invite you to an one-of-a-kind evening on Saturday 7th of July.

-Following the legendary ashtray, the new object of our funding project is now out and waiting for you!

-Our favorite bend will be spreading excellent sound.

-And summer is officialy here.

See you on Saturday, and remember to always wear sun protection!

A standard feature of UbuWeb is its Top Tens, where invited guests get to recommend their cherry-picking selection of the archive. UbuWeb in Athens invites ten contributors living in Greece to share and spatialise their collection by tracing their own path through the colossal mass of UbuWeb’s available works.

Our list:

1. Guy Debord – Society of the Spectacle, Part 1 (1973) 2. Ragnar Kjartansson – Mercy (2005)
3. Cao Fei – Whose Utopia (2006)
4. Marcel Duchamp – Anemic Cinema (1926)
5. Paul Chan – Society of the Spectacle by Guy Debord with a new and unauthorized translation, voice-over by Paul Chan (2013)
6. Helmut Lang – Something to Think About (2011)
7. Liz Magic Laser – The Thought Leader (2015)
8. Andrew Norman Wilson – Ode to Seekers 2012 (2016)
9. Eric Baudelaire – Sugar Water (2007)
10. Ryan Gander – Poison is a Woman’s Weapon Watson (2011)

At times it is violence, or else a medley of unfiltered images; it may be seen as the mother of learning and a prerequisite in the development of history. Repetition as a concept can take various forms and meanings, from industrial production to routine. In our choice from UbuWeb, we project this specific idea on works that are made with a specific duration in mind, but the context in which they are showcased and their web accessibility eventually turn them into something repetitive. This is a first approach to the loop and the multiple levels of repetition, as a basic component of UbuWeb, of our daily routine and of life.

This is the parallel funding project of Enterprise Projects.

A series of objects that a car repair shop like ours could have made.
Always in collaboration with bend.

By buying an ashtray you are participating in our experiment about the limits of a self-sustainable economy and you are helping us to continue.

Enterprise Projects residency at Rupert, Vilnius, Lithuania