Archives: Projects
At Soft Walls, we invite artists and curators that inhabit Athens permanently, occasionally or momentarily to share excerpts, points, reasonings and thoughts around their practice in the context of an artist talk.
Soft Walls function as listening and exchanging platforms, invitations and opportunities to meet, share and fill the space with words and thoughts that we consider vehicles and catalysts for our shared experiences.
This month’s Soft Walls, present artist Nona Inescu
Tuesday December 17th at 19:00
Language: English
Duration: 45 minutes
Nona Inescu (b. 1991) lives and works between Athens, Greece, and Bucharest, Romania. She completed her studies in the summer of 2016 at the National University of Arts in Bucharest (Photography and Video Department) after studying at the Chelsea College of Art & Design in London (2009-2010) and the Royal Academy of Fine Arts in Antwerp (2010-2011).
Her interdisciplinary artistic practice includes photography, installation, sculptures, and video works. Based on a theoretical and literary perspective, the works focus on the relationship between the human body and the environment and the redefinition of this subject in a post-human key. The mediating properties of the body are rendered in several ways, projecting a translation of the world driven by affect, signaling its position as an interface between self and reality. Concepts of geological time and our intense interrelation with our surroundings compose an aesthetic of a primal contemporary togetherness in an organic and biological techno-sphere.
Recent exhibitions have taken place at Catinca Tabacaru Gallery (Bucharest); Kandlhofer Galerie (Vienna), Salonul de Proiecte (Bucharest), Brooke Benington (London); Sylvia Kouvali (London), Goethe Institut (Bucharest), Le CAP Saint-Fons (Lyon); Kunstraum Kreuzberg (Berlin); MAMAC (Nice); Radius (Delft); SpazioA (Pistoia); Centre Clark (Montreal); Art Encounters Biennale (Timișoara); KVOST(Berlin); Peles Empire (Berlin); basis (Frankfurt), Tallinn Art Hall (Estonia), Museo della Montagna (Torino), among others.
At Soft Walls, we invite artists and curators that inhabit Athens permanently, occasionally or momentarily to share excerpts, points, reasonings and thoughts around their practice in the context of an artist talk.
Soft Walls function as listening and exchanging platforms, invitations and opportunities to meet, share and fill the space with words and thoughts that we consider vehicles and catalysts for our shared experiences.
This month’s Soft Walls, present artist Katerina Komianou
Wednesday October 30th at 19:00
Language: Greek
Duration: 45 minutes
Katerina Komianou is an artist based in Athens. She studied sculpture at the Athens School of Fine Arts and she is currently reading for the M.A. program of the Design-Space-Culture Department at the National Technical University of Athens, sometimes known as Athens Polytechnic School.
She has presented her work in exhibitions at the Benaki Museum (Greece), gb agency (France), Onassis Stegi Foundation (Greece), Haus N Athen off-site (Greece), Nobel Building Cultural Space (Greece), as well as Radio Athènes (Greece). Komianou was awarded the ARTWORKS – SNF Artist Fellowship Program in 2019.
At Soft Walls, we invite artists and curators that inhabit Athens permanently, occasionally or momentarily to share excerpts, points, reasonings and thoughts around their practice in the context of an artist talk.
Soft Walls function as listening and exchanging platforms, invitations and opportunities to meet, share and fill the space with words and thoughts that we consider vehicles and catalysts for our shared experiences.
This month’s Soft Walls, present artist Janis Rafa
Wednesday June 19th at 20:00
Language: English
Duration: 45 minutes
Janis Rafa (1984, Greece) lives and works between Amsterdam and Athens. She was a resident at the Rijksakademie (2013-2014) and a fellow at Artworks (2020) and Onassis Air (2024). She holds a PhD in Fine Art at University of Leeds (2012).
In Dec 2024, Rafa will present a new body of work as part of her solo exhibition at EMST. In 2023, she had a solo at Eye Filmmuseum in Amsterdam, presenting a large number of films, video installations and large-scale sculptures. In 2022, her work was presented at the 59th La Biennale di Venezia, curated by Cecilia Alemani.
Her body of work combines film, video installation, sculpture, spatial installations, text, and drawing, in which the non-human, non-logocentric agency is recognised in order to reveal political and ethical dimensions, as another kind of archaeology. Her moving image work is located at the margins of the urban, haunted by stray dogs, roadkills, hunted prey, forgotten ruins, and abandonment. Dead and living, human and non-human beings coexist in an accord of dream and sensuality forming a visual language that relies on muteness, physicality, and the tactile.
Her work has been exhibited in various venues, amongst them, opbo studio (solo, 2023), Centraal Museum (solo, 2019), Fundació Antoni Tàpies (2021), Goethe-Institut Athen (2021), MAXXI (2020 / 2022), State of Concept Athens (2020), Manifesta 12 (2018), Palazzo Medici Riccardi (2017), Centre d’art Contemporain Chanot (2017), Mardin Biennial (2018), Kunsthalle Munster (2017), EYE Filmmuseum (2016/2021), Palazzo Strozzi (2015). Her recent work has been supported by EMST, Eye, ART for the World, Fondazione In Between Art Film, Mondriaan Fund, Netherland Film Fund, and the Greek Film Centre.
At Soft Walls, we invite artists and curators that inhabit Athens permanently, occasionally or momentarily to share excerpts, points, reasonings and thoughts around their practice in the context of an artist talk.
Soft Walls function as listening and exchanging platforms, invitations and opportunities to meet, share and fill the space with words and thoughts that we consider vehicles and catalysts for our shared experiences.
This month’s Soft Walls, present artist Lola Gonzàlez
Wednesday April 10th at 19.00
Language: English
Duration: 45 minutes
Lola Gonzàlez (b. 1988, France) has been developing work for several years at the crossroads of video, sound, and performance. Questioning the notions of collective, commitment, friendship, generation, and language, her work questions our common fears and our hopes for the future. She is developing her research projects in several countries within different communities of friends or strangers. Since 2021 and together with Malak Maatoug, she runs La Maison dans laquelle, a social, artistic, and educational space in Dordogne, France.
Her work has been shown in numerous French and international institutions, such as the MAC in Lyon, the Centre Georges Pompidou and the Palais de Tokyo, in Paris, the MAAT in Lisbon, and Basis in Frankfurt. She has been selected for numerous residencies such as the Pavillon du Palais de Tokyo in Paris, Flax in Los Angeles, Homesession in Barcelona, and was a resident of the Villa Médici in Rome in 2018/2019. She is represented by the Marcelle Alix gallery, Paris.
screening program and talk
Curated by Marta Federici
In collaboration with 3 137
To find the words again and hear the silences is a screening program curated by Marta Federici presenting a selection of works realized over the last fifteen years by artists who use the moving image to trace non-linear trajectories through time and space, in an attempt to reconstruct personal and collective memories. The event is presented by 3 137 and hosted by Enterprise Projects at their venue in Athens, on Thursday 28 March 2024.
Starting at 7pm, the following films will be screened: Deep Sleep (2014) by Basma Alsharif; Neither on the Ground, nor in the Sky (2019) by Hera Büyüktaşcıyan; The Interpreter (2009) by Maria Iorio and Raphaël Cuomo; and A Country of Two (2016) by Neritan Zinxhiria. The screenings will be accompanied by a talk between curator Marta Federici and filmmaker Neritan Zinxhiria, aimed at deepening the themes addressed by the program in relation to Zinxhiria’s artistic practice.
The event is part of an extended research project led by Marta Federici, developed with the support of the Italian Council program (2023), promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture with the aim of promoting Italian contemporary art in the world. The project, titled Geographies of the Selves / Geographies of the Selves, investigates the production of images and elaboration of narratives in video works and experimental films that represent shifting territories in the Mediterranean region. By questioning the role and the possibilities of artistic practices in witnessing the profound processes of change that alter the social and physical conformation of this area, the research develops a reflection on themes such as the construction of hegemonic narratives, the landscape as a sphere of elaboration of the sense of belonging, and the human capacity to represent and inhabit/navigate the space-time dimension.
The works included within To find the words again and hear the silences unfold geographies of lived experience, exploring a sense of displacement, dislocation and existence in liminal spaces and states: neither on the ground nor in the sky, neither in the past nor in the present, neither rooted nor elevated — quoting Büyüktaşcıyan’s words. Reconstructing fragmentary storytelling that alternates landscape shots, dreamlike visions, archival photos, home movies, poetic meditations, and records of a conversation that took place in a cafe, the artists’ works compose a journey that crosses different lands and seas and interweaves excerpts of private stories and public accounts. Ancient sites and ruins become resonance spaces of current living conditions, as images and words evoke scenarios of a shared contemporary socio-political history.
The title of the program takes inspiration from the remark made by “the interpreter” of the film by Maria Iorio and Raphaël Cuomo at the end of his account, who expresses the need to go back and retrace the story once again, listening not only to what was put into words by the protagonists but also to what emerges in the gaps — in an attempt at reconstructing the facts that ultimately never turn out to be definitive. Listening again and recounting again, in a rhythm marked by repetitions that are voyages through maps and timelines, imagined reconnections, returns that are prevented, sought, forced.
This drifting in space and time is also enacted by the moving image itself, which unravels the imposed order of the plot of time and lets geographies collapse into a continuous space. The works presented propose each in their own way an investigation into the possibilities and limits of representation within the cinematic space. Basma Alsharif tests its depth and consistency, by practising bilocalisation sessions that bring distant places into one another and generate a fluctuating and visionary dimension; Hera Büyüktaşcıyan animates a clay figurine that references an ancient mosaic, to activate the apparent stillness and silence of archeological sites and archival images; Maria Iorio and Raphaël Cuomo expose the impossibility of producing first-hand testimony in relation to life experiences that occur at the limits of what is deemed legal by migratory policies, thus questioning what reality an image can bear witness to and also what it conceals; and finally, Neritan Zinxhiria confronts the filmic narrative with the family archive, exploring the processing of the moving image as a mechanism for elaborating both memory and its failures.
Timetable
19:00–19:10 Presentation
19:10–20:20 Screenings
Screening order:
Basma Alsharif, Deep Sleep, 12’45’’
Hera Büyüktaşcıyan, Neither on the Ground, nor in the Sky, 10’
Maria Iorio and Raphaël Cuomo, The Interpreter, 36’
Neritan Zinxhiria, A Country of Two, 9’
20:20–21:00 Conversation between Neritan Zinxhiria and Marta Federici
Marta Federici’s research project Geografie dei sé / Geographies of the Selves is granted by theItalian Council program (2023).
At Soft Walls, we invite artists and curators that inhabit Athens permanently, occasionally or momentarily to share excerpts, points, reasonings and thoughts around their practice in the context of an artist talk.
Soft Walls function as listening and exchanging platforms, invitations and opportunities to meet, share and fill the space with words and thoughts that we consider vehicles and catalysts for our shared experiences.
This month’s Soft Walls, present artist duo Latent Community, on Tuesday March 26th at 19.00.
Language: Greek
Duration: 45 minutes
Latent Community is the interdisciplinary artist duo by visual artists and filmmakers Sotiris Tsiganos and Ionian Bisai. They work with moving image in research-based projects as a tool to explore issues of social, political and ecological justice. Their interdisciplinary practice integrates extensive fieldwork with relational strategies and performative sequences as means to render forgotten memories, to amplify unheard voices and to explore overlooked ecosystems.
Their work has been presented internationally in exhibitions and festivals, including: Athens Biennale (2017); documenta 14–Public Programs (2017); Sharjah Film Platform–Sharjah Art Foundation (2019); Recontemporary art space in Turin (2019); Thessaloniki Documentary Festival (2020); PCAI–Polyeco Contemporary Art Initiative (2020); School of Waters–Mediterranea 19 Young Artists Biennale (2021); and the 23rd Biennale of Sydney: Rīvus (2022). They have been granted awards by LOOP Barcelona, Sharjah Art Foundation, ARTWORKS-SNF Artist Fellowship Program and The Stavros Niarchos Foundation Public Humanities Initiative (SNFPHI) at Columbia University and have participated in residency programmes such as the Caravan Residency Program (Cittadellarte–Fondazione Pistoletto & Centre for Fine Arts–Bozar).
Enterprise Projects inaugurates a new series of encounters under the title Soft Walls, for which we invite artists and curators that inhabit Athens permanently, occasionally or momentarily to share excerpts, points, reasonings and thoughts around their practice in the context of an artist talk.
Soft Walls function as listening and exchanging platforms, invitations and opportunities to meet, share and fill the space with words and thoughts that we consider vehicles and catalysts for our shared experiences.
The cycle of artist-talks, Soft Walls, begins with artist Dimitra Kondylatou, on Sunday February 18th at 18.00.
Language: Greek
Duration: 45 minutes
Dimitra Kondylatou lives in Athens. She works across video-making, editing, writing, and hosting. She is interested in the limits of art and its entanglements with tourism and everyday life. Her methodology is informed and crosses boundaries with other disciplines, through her participation in collective projects and the presentation of her work in festivals, exhibitions, conferences and publications. She studied at the Dutch Art Institute (MA-2017) and the Athens School of Fine Arts (2012). In 2022 she was an artist in residence at ISCP (New York, supported by ARTWORKS) and at Saari Residence (supported by Kone Foundation). In 2019 she participated in the Artist Fellowship Program ARTWORKS (Stavros Niarchos Foundation). From 2012 to 2018 she worked and directed the Neion guesthouse in Lefkada, where she initiated the residential project The island-resignified (2015-2017). She was member and co-founder of kyklada.press (2020-2021), and member of TWIXTlab (2017-2018).
The performance uses, as a ready-made title, the name of the legendary 20th century avant-garde artist Marcel Duchamp (1887-1968), who influenced and continues to influence our perception of art, as only a handful of artists have achieved. An independent soul and lover of games and irony, Marcel Duchamp was a cubist painter, a member of Dada, a surrealist, a denialist of painting, an inventor of the ready-made, a professional chess player, an organizer of exhibitions, a forerunner of conceptual art, an important reference for pop art and postmodern aesthetics, an intelligent and successful man, and a very lucky guy…
Nova Melancholia is interested in the “Marcel Duchamp” method; its strategies, the ideas, the practice. Their anniversary performance claims a certain legacy: the pervasive spirit of challenge, the constant irony and self-irony, the search for subversion, for the new and the challenging, the playful approach to things, the inclusion of the random in the artistic process, and the significant gesture.
The title of the performance functions as a platform for additional signification and loose connections between different materials. “Marcel Duchamp” can only be the pretext, the wrapper of a content. And the content is Nova Melancholia itself that has been trying to define – over the years – a genealogy of people, artists, methods, ways of working; a specific sensitivity to things.
The show is a celebration of the 15 years of the group’s presence (2007-2022) in the changing landscape of theatrical and artistic performance. It will be hosted successively at four spaces of Athens’ contemporary art scene: State of Concept Athens, EIGHT, TAVROS and Enterprise Projects, for five days in each space, spread over a period of four months.
* A first version of the performance was presented on Anafi, at phenomena (Association Phenomenon & Kerenidis Pepe Collection) in July 2021, as a diptych together with an artwork by VASKOS under the common title “Data: 1st The Momentary Immobility, 2nd The Cracks.”
* The production of the show is carried out with the subsidy of the Ministry of Culture.
Enterprise Projects is excited to present Counter (-), an installation by Michailangelos Vlassis – Ziakas.
Counter (-) approaches the act of Electrical Power Theft using the “tools” of documentary. Through a series of videotaped interviews –a result of many years of artistic research– Vlassis – Ziakas discusses the political dimensions of individual and collective interventions in the electricity network as well as the motivations and the nature of their application, ranging from an inability to repay bills to a conscious ideological attitude and from opportunism to an act of solidarity.
The axes on which this attempt of recording, analysis and approach moves are constantly alternating through different presences. The technique itself, its transformation into knowledge and its way of dissemination, the selection and subjectivity in the colouring of the act, as well as the understanding of the respective context co-form a polyphonic ensemble.
The interviewees are asked to cover their faces in any way they wish in a process not only of concealing their identity but also of consciously representing their socio-political self in the context of the interview. The meaning of the disguises, which passes through the prism of the act, “unlocks” new views, trends, origins, and arguments.
Counter (-) does not seek a conventional depiction of the Electrical Power Theft phenomenon. Instead, beginning with the mapping of a network of actors, it deals with the various ways in which subjects choose to make sense of a delinquent act, to form a political and moral discourse around it, and to represent themselves in the context defined by the interview.
Duration: 9 – 23 October 2021, Thursday-Saturday 18:00-21:00
Enterprise Projects is pleased to present the EP Journal binder in the context of the 2nd Athens Art Book Fair
Opening hours: Everyday 11:00 - 21:00
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.
As part of its engagement with publications, the written word, language, and translation, Enterprise Projects presents On the Tip of the Tongue.
The project’s environment is shaped by three elements, the audio documentation of a conversation around art publications in Greece, which took place in December 2020 between Margarita Athanasiou, Helena Papadopoulos, Theofilos Tramboulis, Evita Tsokanta, and Despina Zefkili; the site-specific sculptural installation by Kostas Roussakis, which creates space and negotiates the experience of scale, while allowing the audience to inhabit it; and Marina Miliou-Theocharaki’s sound installation Oral Fixation (2021), which approaches voice, speech, and their sensorial traces.
On the Tip of the Tongue is a platform fostering the coexistence of different tools, forms, and approaches that relate to the written and spoken word, what comes before it, and its transmutations.
The recorded conversation between Margarita Athanasiou, Helena Papadopoulos, Theofilos Tramboulis, Evita Tsokanta, and Despina Zefkili is in Greek, it lasts 1 hour and 15 min., and it will be starting at 16:00, 17:30 and 18:45.
Due to the regulations that pertain to Covid-19 prevention, only ten people are allowed in the space simultaneously. Wearing face masks and maintaining the appropriate distance are mandatory.
With the support of the Ministry of Culture and Sports
Duration: 22 May –18 June 2021
Opening hours: Friday and Saturday 16:00–20:00
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
Opening: Friday 7th of September 2019
Opening hours: Everyday 12:00 - 21:00
If, in a parallelism with the human body, the highways are the arteries of a city, then the back lots of its buildings are its joints, the junctions between the urban skeleton of the apartment blocks that allow the flow of light and air, form the spatial terms of neighbouring and finallydefine the urban tissue, remaining, nevertheless, undetected.
Sunstreet draws its inspiration by the glamour and the mystery emitted by the Athenian back lots as familiar and, at the same time, distant environments, as places with multiple owners but no user, as microworlds and as spaces/non-spaces.
The project comprises a series of artistic contributions, architectural interventions, gestures and approaches of this small urban utopia, each one of which has a different starting point and a different purpose.
Themultiplicityofthe back lot’s roles often remains an intention, while their manifestation demands that the tenant or the owner becomes a resident.
Sunstreet activates the back lot of Enterprise Projects and observes the intention, the function, the evidence and the potential of this space.
Duration: 1 - 29 June 2019,
Opening hours: Thursday-Saturday 17.00-21.00 and by appointment
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.
Duration: 9 – 19 December 2018
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!
Cristina Bogdan, ODD, Bucharest
Cathrin Mayer and Maurin Dietrich, BOB’S POGO BAR, Berlin
Vasilis Papageorgiou and Danai Giannoglou, ENTERPRISE PROJECTS, Athens
To be an artist is to consider that the world as it is is not enough. It is to consider that we do have a say. It is also to consider our point of view as a starting point to look at the world, to take a stand. We think that all of these considerations start from the conception of a « self » as a being aware of the thinking process, a being full of ego.
Philosophy has been interested in the εgo ever since Descartes; Descartes first considered the ego as a thought-provoking subject. Then, Sartre distinguished the ‘’me’’ from the Εgo: “The Εgo is not the owner of consciousness, it is the object of consciousness.”
In many religions and beliefs the ego is considered as a confinement: believing that we know who we are.
Each artist has his or her own practice. Everyone tries to make a living out of his art, everyone tries to find a way to exist as an artist. For this purpose, everything is allowed: we want to exist, we want to speak, we want to live. We believe that the art world forces the artist to sell himself as an incredible, surprising, inevitable person. If he wants to exist, the artist must assert his ego.
We do know we have ego. That’s probably one of the reasons we’re artists. But what to do?
Can we for one exhibition, use our ego for something other than personal success? Can we, for one exhibition, set aside the pressure to succeed and propose another model of success?
Palette Terre 2018
Duration: 29 September - 13 October 2018
Opening hours: Thursday to Saturday 18:00-21:00
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.
Duration 29 August - 6 September 2018
Opening hours: Everyday from 14:00 to 20:00
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!
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!
Duration: 21-24 June 2018
Opening hours: Thursday to Sunday 12:00-21:00
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.
Duration: 16-18th of March, 2018
Opening hours: Saturday and Sunday, 12:00 - 20:00
Very often you are not ready for everything that is happening, and also very often there is nothing that can prepare you for what is not going to happen. Everything carries on within a second of non-readiness, in a continuous procedure of non-readiness that creates the space for events. Slowly or quickly you inhabit every moment making it a home, you are trying it on or leaving it beside you until it vanishes. You are standing on the edge of a high cliff, much like when we stand for a bit before we dive into the sea, and you are wondering if reality is actually the air, the water, the view or all that waiting that you are not ready to put an end to. Life is organized around non-readiness, first times, and pauses.
Using as a starting point a very familiar mental state, Enterprise Projects presents a condition that stands between the iconography of a sense and the search for a certain solution. What are you doing when you are not doing what you are not ready for?
For the time being we will contemplate, sorry captain.
Duration: 7-14th of January 2018
Opening hours: Wednesday to Sunday, 18:00 – 21:00
Does the car owner gradually start looking like the car itself?
Does the car start to slowly look like its owner?
Underneath the foot, the accelerator, my toes spread like ivy.
Is there equality in the car cemetery?
Is the car an aged sex symbol?
Α car is the promise that all of your desires will come true.
Does the driver need to be beautiful?
The children know that cars can talk.
Car Service II approaches the car as a symbol, a connection and a space. It examines the fleeting impression of the aura that it exudes, It unfolds a version of our relationship with it.
Marble & Wallpaper by: Vasilis Papageorgiou
Cigarettes by: Irini Miga
Mapping by: Dimitris Zampopoulos
Set design: Enterprise Projects
Duration: 31 May-15 June 2017
Opening hours: Wednesday to Saturday 18:00-21:00
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.
An observatory of autonomous loocalities and fragmented intersections, a place where temporary desire is built. Transparent entities that run through the seated crowds hot-wiring the cable lines. In the dim twilight your friends the black birds sit on your shoulders. A sip of a coffee inspired beverage becomes a chill humane approach to an infinite defeat, a general merchandise. During the first trimester of the 21st century morning sickness gives way to miscarriage, suddenly tools you will no longer birth were already obsolete. Before War broke out ur sat ur baking potential threats until it overheats, it desires a Fader review for some well boiled dismantling online as armies trampled it deep into the continental crust, it was crushed and no longer meant anything. Fashions and lifestyles and mindsets no longer set but unsettled decrypted and exported to a future we can no longer run from.
Best Buddies
Duration: 17/02-26/02
Opening hours: Wednesday to Friday 18:00-21:00
and Saturday to Sunday 16:00 - 21:00
Enterprise Projects residency at Rupert, Vilnius, Lithuania
I insist on capitalizing Companionship, while for loneliness I use a lower-case “l”.And yet, loneliness is not at all lowly or mundane. Perhaps in doing so I cast it out, this heinous circumstance. But then again isn’t companionship also an illness?
And what if these two words are not antonyms of each other? What if the two ideas don’t have – or need – antonyms at all?
They stand alone because they are absolute. Like tongues that lick, like chains that clench.
The dialogue between the works of Olga Evangelidou and Konstantina Katrakazou, in the context of Unpleasant Emo- tional Response (Τρικυμία) sheds light on two different sides of the situation, or better yet on two different situations that successively entail one another. Loneliness, absence and loss, companionship, presence and love. Examining these different situations as conditions of one’s inner nature we keep returning to the same symptoms, the same causes and the same patients. If the bug is analysed, then it becomes clear that what we are dealing with is an organism facing its mirror, a disease the outcomes of which might be fatal or a disease that might cure itself, a condition without a ‘’patient zero’’. Companionship follows a course that is different from the one of loneliness; as the first moves from the surface towards the interior, the second one is born in the depths and only gradually surfaces.The one forms the other’s reme- dy and reason for existing, participating in an everlasting game of mutual extermination.
Through two installation works and five concurrent monologues, Evangelidou and Katrakazou investigate the condition without offering treatments.
Unpleasant emotional response (Τρικυμία) is presented in the context of the publication of the fourth issue of Asthenia zine.
Duration: 12-20 November 2016
Opening hours: 12 and 13 November 18:00-21:00 and 18,19 and 20 November 18:00 – 21:00
‘Extend and pretend’ is the patronising, glib slogan applied by English speakers to Greece’s financial policy of accepting heavy loans from other EU countries.
A policy which culminated in the harsh austerity measures imposed on the country from 2009 till today.
Rather than cutting away, we want to seek strong links between Brussels, the heart of the European Union, and Athens, the city most synonymous with its instability. We want a way of working dictated by real need – not by the imaginary and impossible demands of the market. We want the possibility of forging links from real things in real space – a conversation of objects in a room and a conversation between space and artists in Brussels and Athens.
Extend and Pretend is a reply to ‘Young, Handsome And Unemployed’ curated by Michelangelo Corsaro in Komplot Brussels in April 2016 with Theodoris Giannakis & Petros Moris, Katerina Kana, Lito Kattou, Natasha Papadopoulou, Zoë Paul, Angelo Plessas, Socratis Socratous and Pegi Zali.
Komplot is a curatorial collective based in Brussels since 2002.
www.kmplt.be
Duration: 24th of September -09th of October 2016
Opening hours: Every Thursday and Friday 17:00 – 21:00 & Saturday and Sunday 14:00 – 21:00
With a contemplation that begins with the case of the Kalabsha temple in Egypt, Paky Vlassopoulou is composing in this new artwork, the ideas of monument and moving, of ruin and time.
Observing the procedure that the structure follows until it becomes a ruin, Vlassopoulou notices the gradual emergence of the material’s information, which during the glorious days of the construction remained a hidden element. The ‘’temporality’’ of the ruin is leaving it naked and at the same time it clashes with the non-temporality of the monument by creating a contradictory but common notion. The ruin reflects its own past and present, and the monument outlines the infinity.
Historically the relocation of a monument is not a common phenomenon. Nonetheless, whenever something like that happened aimed to the preservation of the very structure (Kalabsha temple, Aghioi Saranta church). In that same context, Vlassopoulou moves a Trojan Horse- monument – without moving herself. A Trojan Horse that is coming not only from a place that no longer exists but also from its own non-existence so as to be shaped by what the new condition has to offer. Structured on a table –finding of the space, this very Trojan Horse couldn’t have been born anywhere else. Such a monument, which for some is a threat or a shelter, should always go under the ‘’cloak’’ that will make the gates of every Troy to open, either for truce or for war.
With the installation Cause love is such an old-fashioned word (Δούρειος Ίππος), Paky Vlassopoulou welcomes the present keeping everything that is useless.
Duration: 5-15 June 2016
Opening hours: Everyday 17:00 – 21:00
The association hd.kepler., the artist run space 3 137 and Enterprise Projects present a series of speeches entitled “Online/Offline” that focuses on post-digital art on Saturday, April 23, 2016 at Enterprise Projects (Chalkidonos 56 – 58, 115 27, Ampelokipoi, Athens) at 5 p.m.
Post-digital art is not the art after the internet, the internet is neither over or surpassed but it is everywhere and we should examine its consequences on art since it is a medium that we cannot escape. One way or another, the artwork will be presented on the internet, either during the artistic process or afterwords by its documentation, communication and sales.
The terms online and offline are defined from the computer science. Online designates a state where we are connected and offline, a state of disconnection. For the first time, “online” was introduced in telecommunications. The term offline did not exist because a disconnected machine was unworthy to be defined and included in the technical vocabulary. Nowadays, whether we call it biocybernetics era or hyperconnectivity era, there is one thing in common; the infiltration of the network in every aspect of our lives. And the artwork always circulates through networks.
The speakers, they are all internet natives, aim to present and renegotiate the most important online/offline terms of post-digital art like the ambiguity of physical and the virtual space, the aura of the artwork, the authenticity in the era advanced contemporary reproducibility technics, the anthropocene, the materiality of the virtual network and the interdependence of the physical material reality.
This presentation will be open to the public and will include a presentation of the publication On the Run #1 Online/Offline from the association hd.kepler. with its particular materialization protocole and a supplementary publication of the dictionary of the post-digital art terms that will be produced during a close three day workshop from a team of greek and foreign artists, curators, researchers and other cultural producers at 3 137.
The dictionary is a tool that enables us to understand our times. By choosing carefully our vocabulary, we form our present. Our present is perforated, continuous, mutative. It is made out of words, images, videos, links, hypertexts and other open-ended forms. It is written in greek, in english, in french, in polish, in greeklish, in html language, following and escaping the rules.
The speakers of this “Online/Offline” event are the British artist, technologist and author James Bridle, the Greek artist Zoe Giabouldaki, the Greek- Berlin based theorist and curator Daphne Dragona, the French artist Théo Massoulier, the founder of XPO Studio in Paris and co-founder of Hypersalon Philippe Riss, the Polish-Lyon based anthropologist-curator Anna Tomczak (co-founder of the collective recto/verso) and the French graphic designer Thibaut Vandebuerie.
Twenty four hours away from the time gone by are enough to return to it. A number of specific things preceded and another one is due. You count, you recount, you place, you ignore. The smell is still present and the feeling is as strange as it used to be. When did it come, when will it go and when will it come back?
‘My moon, he told me that he loves me and I know it.
Tell him when you see him again
that I have him in my heart’
(Poems Calendar, page January the 2nd 2016, Ydrogeios Editions)
The second ‘Enterprise Projects’ exhibition is an attempt to form the ‘Day after the First Day’, the day after the first day of the year.
‘Enterprise Projects’ is an Athens based project by Danai Giannoglou and Vasilis Papageorgiou, which is functioning independently and periodically in Ampelokipoi area since September 2015
Duration: 3-8 January 2016
Opening hours: Everyday 16:00 – 21:00
There where you have the vehicle repaired, the frame bearing the function of the transporter, the soulless construction playing the role of the intermediary between the passenger and its destination, the First Aid Kit for the ‘weathered’ material. This is the conceptual and natural framework of Car Service, the first exhibition of Enterprise Projects.
Spaces are charged and discharged depending on the activity they surround. They narrate or hide the story that you choose to listen to or ignore.
Inside an old car service, Enterprise Projects invites Lito Kattou, Petros Moris, Rallou Panayiotou and Vasilis Papageorgiou to converse with the special ‘weight’ of the space, the atmosphere, the material and glamour.
Duration: 4-12 September 2015
Opening hours: Everyday 12:00 – 20:00