Happy to share a video of the opening of my exhibition at Ileana Tounta Contemporary Art Center last night. Thank you Fiona Mouzakitis and Athens Art Walk.
Solo exhibition at Ileanna Tounta Gallery
18 April -25 May 2024
Opening: 18 April 18;00-21;00
Exhibition extension -A Rave down Below
The group exhibition A Rave down Below, curated by Panos Giannikopoulos for 2023 Eleusis, has been extended until the 11th of February. I am participating with my painting To Hell and Back, commissioned by 2023 Eleusis.
Plus, on the 11th, there will be a closing event for all the projects taking place at the moment in Eleusina.
Don't miss this wonderful exhibition!
Old Elefsina Olive Oil Factory, Kanellopoulou 1, Elefsina 192 00
Lavreotiki Art Project
Delighted to participate in Lavreotiki Art Project, curated by Amalia Charikiopoulou, together with a team of amazing artists.
Opening on the 1st of September, duration until the 10th.
More info on the link below.
News. February 2023
I have the pleasure of being featured in the curated section of issue 34 of Create! Magazine (both in the digital and print versions. The artists were selected by Pegah, the founder of Repaint History.
Follow the link to the blog entry on my work
I am happy to be participating in the group exhibition Close Up, curated by Eirini Ruby and Alexandra Malakasioti.
Join us on the opening, Thursday 23rd of Feburary, or any other day, until the 19th of March.
Studio Visit
Hello everyone!
Γεια σε όλους! (το κείμενο ακολουθεί στα ελληνικά πιο κάτω)
I hope you are well and keeping relatively sane in this crazy situation we find ourselves in.
It’s been a long time since I last wrote here on the blog. My painting has absorbed me to such an extent that it has been impossible to dedicate time to writing. However, perhaps this is also a result of our being ‘socially isolated’. There is a feeling that the world is not moving in the way it used to, and this prompts one to keep things to oneself… perhaps. As far as my studio work is concerned, I am indeed keeping a lot of the things I work on to myself as I prefer to look forward to a time and place where they will be exhibited physically.
Paradoxically, the reason for this post is that I want to invite you to visit my studio!
I am sharing with you a short video I made , with the help of my partner and fellow artst Ilias Koen. The video was made after an invitation to participate in the ‘Artists in their Studios’ videos of the youtube channel ‘Athens Artwalks’ where it will also be uploaded. I present processes and concepts of my studio practice, in the environment of that ‘transitional space’ which is the studio.
‘Transitional space’ is a concept developed by D. W. Winnicott[1] to refer to those spaces that exist in the boundary between the internal and the external. Spaces that pertain neither to fantasy nor to external reality, or rather both to fantasy and to external reality. This past year I have been thinking a lot about the artist’s studio on these terms. The studio as the place that provides a space for creativity to develop, to exist, inside it rises a world in-between fantasy and the reality of action and material. The studio encapsulates Paul Valery’s phrase ‘There is another world, but it exists within this one’.
In the end, I enjoyed doing the video, although it was a challenge to be the producer, videographer, and editor of this presentation pertaining to my work. I hope you will like it. Enjoy!
Katerina
[1] I am thankful to my colleague and friend Ileanna Arnaoutou for bringing Winnicott back to my attention. It has been many years, since my studies in Social Psychology, that I had read some of his writings.
Studio Visit
Γεια σε όλους!
Ελπίζω να είστε καλά και να διατηρείτε όσο το δυνατόν σώας τας φρένας, μέσα σε αυτήν την τρέλλα όπου καλούμαστε να ζήσουμε.
Έχει περάσει καιρός απο την τελευταία φορά που έγραψα εδώ στο blog. Ο λόγος είναι, εν μέρει τουλάχιστον, οτι η δουλειά μου με έχει απορροφήσει τόσο πολυ που είναι δύσκολο να αφιερώσω χρόνο στο γράψιμο. Ίσως όμως να οφείλεται και στην επίδραση που έχει η ‘κοινωνική απομόνωσή’ μας. Έχεις την εντύπωση οτι ο κόσμος δεν κινείται όπως πριν και αυτό ίσως να ωθεί κάποιον να κρατάει τα πράγματα για τον εαυτό του. Δεν είναι σίγουρα καιρός που ευνοεί την κοινωνικότητα. ¨Οσον αφορά στην εικαστική μου δουλειά, αυτό είναι σίγουρα έτσι. Κρατάω τα περισσότερα πράγματα για τον εαυτό μου, για να τα μοιραστώ στη φυσική τους μορφή σε κάποιον προσεχόντα χρόνο και χώρο.
Παραδόξως, ο λόγος αυτού του πόστ είναι μια πρόσκληση σε μια μικρή επίσκεψη στο εργαστήριό μου. Μοιράζομαι εδώ ένα βίντεο που έκανα μόνη μου, με τη βοήθεια του καλλιτέχνη και συντρόφου μου Ηλία Κοέν. Το βίντεο το έκανα μετά απο πρόσκληση για συμμετοχή στα βίντεο ‘Artists in their Studios’ του καναλιού ‘Athens Artwalks’ όπου θα ανεβεί επίσης. Παρουσιάζει διαδικασίες και έννοιες της εργαστηριακής μου πρακτικής, μέσα στο περιβάλλον του ‘μεταβατικού χώρου’ που είναι το εργαστήριο.
Ο ‘Μεταβατικός χώρος’ είναι μια έννοια του ψυχαναλυτή D.W.Winnicott[1] και αναφέρεται σε χώρους οι οποίοι βρίσκονται στο ενδιάμεσο μεταξύ του εσωτερικού και του εξωτερικού. Αυτοί οι χώροι δεν ανήκουν αμοιγώς ούτε στην φαντασία ούτε στην εξωτερική πραγματικότητα η μάλλον, ανήκουν καί στην φαντασία καί στην εξωτερική πραγματικότητα. Αυτόν τον χρόνο που πέρασε σκέφτομαι πολύ το εργαστήριο με αυτούς τους όρους. Ως το μέρος που παρέχει τον χώρο στην δημιουργικότητά να υπάρξει και να εξελιχθεί. Εκεί μέσα εξελίσσεται ένας κόσμος ανάμεσα στην φαντασίωση και την πραγματικότητα της δράσης και των υλικών. Το εργαστήριο εκφράζει την φράση του Paul Valery ‘Υπαρχει ένας άλλος κόσμος, αλλα είναι μέσα σε αυτόν εδώ’.
Μου άρεσε τελικά που έκανα το βίντεο, αν και μου φάνηκε δύσκολο να γίνω ο παραγωγός, παρουσιαστής, κινηματογραφιστής και μοντέρ μιας παρουσίασης της δουλειάς μου. Ελπίζω να το χαρείτε!
Κατερίνα
[1] Ευχαριστώ πολύ την φίλη και συνάδελφο Ηλεάννα Αρναούτου που μου τον ξαναθύμησε στην παρούσα στιγμή.
The coronavirus diary Part 3 (Pay attention)
Bruce Nauman, Pay attention Motherfuckers, 1973 Lithograph
Pay attention Motherfuckers
I don’t remember what I was looking for online when I came across this work by Bruce Nauman. It struck me with its emergency and its relevance to what I see happening in the world around me lately. I immediately felt my voice shouting it out in my head. And that was not to remind people to wash their hands.
Because, it is not just the virus. It’s what happened in America, what’s happening everyday, all over the world. It is how I see (some) people treating one another. And I consider this to be a result of our lack of attention towards our environment, humanity and the concept of being human. But more of that later.
I want to investigate the power the work exerts over me. I start by looking at it closer. It is a black and white lithograph, one of the many works of Nauman that has to do with language. From what I see by looking at the google results, the work is very famous and other artists have appropriated the sentence or other aspects of the work for their own purposes.
It is of course an insult. An angry statement. As such, it is powerful. Why then do we bypass the insult and engage with it as a work of art? Is it because of our guilt syndrome?
Perhaps also to an extent, but the work functions in wittier ways. First, the text is in reverse. (although I did see somebody that put it on pinterest reversed once more lol). So we have to become especially attentive in order to read the sentence in the first place. While reading the sentence we become conscious of ourselves paying attention to the reading process. That is we, the motherfuckers.
It seems at first that Bruce Nauman, as the artist, is telling us what to do standing opposite to us, on the side of the artwork on the wall. While reading, we also become attentive to conceding to being called a motherfucker. We are in a closed circuit, we and the artwork, telling us what to do. It is not a liberal artwork. But being liberal is perhaps not what this artwork is about.
The letters are stacked close together and placed on thick straight lines as if they were products on market shelves. Especially the three letters on the top, PAY, have a cast shadow that makes a three dimensional effect, although inconsistent in terms of a definable light source. The word attention is rather hard to read so perhaps an initial rapid reading of the text could be PAY MOTHERFUCKERS which brings to mind capitalism and its demands from us. As I said, the shading is inconsistent, and I start to think that Nauman himself is not paying enough attention while writing the sentence but gets distracted on the way.
It does seem as if he is actually pressing himself into paying attention. He seems to be pressing the crayon on the stone, writing this word over and over, nearly concealing it as a result. Like the little child that is punished by being made to write repeatedly ‘I will pay attention in class’, his self-induced ‘punishment’ is to repeatedly attend to the (word) attention.
The work is in reverse, so subconsciously we feel as if we are looking at a mirror. This assumption also seems to make up for the inconsistency of the cast shadows. From this place we would perhaps also be seeing ourselves in front of the text, which is now perceived as being situated in the same space as we. And here comes the revelation! The artist is sharing the same place with ourselves, that is the other side of the mirror. Instead of being indicative of the artist’s separation from the audience the ‘s’ in motherfuckers is actually indicative of the artist merging with the audience. We are in this together.
The work strikes me because it flashes a light to something that seems very important at the moment. Being conscious. This is a work about mindfulness before mindfulness became hip. It reminds us that we have to pay attention, although frequently what we are asked to do is to pay, fullstop.
Are we really paying attention?
It seems that more and more we are conditioned to being distracted, overwhelmed by the incessant flow of information and connection, always checking our phones and social media, always being somewhere else than our bodies are at the moment. Sometimes I am struck by how people can have a ‘gone’ look in their eyes, how they seem to be talking to you but not really being there.
The man who murdered George Floyd, was he paying attention? Floyd was saying he can’t breathe still the officer was looking the other way, almost laughing. Isn’t this a complete lack of attention, a lack of attention to human life, to what being human actually is? Isn’t this complete inattention not only to the other man, but also to one’s own sensations and feelings? And isn’t this exactly the opposite to what he was supposedly there to do, as a policeman? Unfortunately, this lack of attention was shared by his colleagues on that day. Today I saw another video, one policeman pushed an elderly man to the ground. His gesture was so dismissive and, again, inattentive. I see this more and more everyday now, everywhere I look, in big issues and small details.
I say to myself: Practice paying attention. Without criticizing or attempting to correct. To what arises. To your first reactions to something. And your second. Pay attention to the people you come across everyday. To your loved ones but also to the ones you don’t know. Reveal deep rooted unconscious thoughts that seem to go beyond simple conditioning. Pay attention to your mind, when it sends an alert every time a somewhat ‘different’ person comes your way, your DNA is tainted with racism.
The last words I saw written in this file where I keep my notes for the blog when I opened it to write this post were these:
‘Is there a need for the art object?
With all these discussions about art during the current crisis, I am wondering if there is a need for the art object. Do people need art? And if they do, in what way? Are they satisfied in looking at a work of art on the internet, do they want to see it live, do they need to live with art? Why? Is art just a decorative object on the wall?’
It seems that the answer, at least to some parts of this question came, for me, with this work. Art is a way to make us pay attention, motherfuckers.
The coronavirus diary part 2
It’s been forty days now. Forty days of lockdown. Forty days of staying at home, with few escapes to the studio, more or less voluntarily. I am continuing with the practices I talked about in part one of this diary. I also took up running (with little success) and I’m going for walks round the nearby hill of Lycabettus (a lot better). I am painting in watercolour and working on my collage book ‘New Décor’. I copy stuff and I also do some studies from nature, in the patio here at home when the sun is out.
What is made clearer, now more than ever, is my need for the physical aspect of my practice. The somatic aspect of painting. I miss moving in the open space of the studio, backwards and forwards, in and out of a work, between works, creating space through the movement of the body, recording it in the brush stroke.
Painting is an act.[1] It is a verb. It refers to a process, a practice, not to a product. The act of painting is situated in the now and stands in contrast to Painting with a capital P which refers to the whole sum of the acts of painting, including all its occurrences since its first appearance. However, the two interconnect and painting in the now is always in conversation with Painting as the realm of past artworks.
Painting, considered as an act, can perhaps be seen as a way of recording or making visible a sensation. As such it is putting down on paper a fleeting perception, a tentative image of something in a state of becoming. Clarifying and depicting this sensation or perception is perhaps the life work of any one artist.
Perhaps this is what De Kooning referred to when he said that ‘Content is a glimpse, an encounter like a flash‘.
https://www.dekooning.org/documentation/words/content-is-a-glimpse
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What is my content? It is somewhere there in all my paintings, I can point to it, but I cannot describe it through words, or if I try to, it sounds trivial.
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Deciding to paint according to the view of painting as an act can have no standard to which it has to adhere. It has to find its way by trial and error, although the only way through is informed by Painting and the lessons one learns from its occurrences.
This is how painting is schizophrenic. It has to be at the same time rooted in the tradition of Painting and break free from it.
This relates to the schizophrenic nature of the human reality. What haunts human beings is the need to adhere to a standard, to be correct, to fit in, to be accepted. This is connected to the survival instinct, and to the need to feel gratified and wanted. At the same time, we want to be independent and free, to live how we want to live, to define our own standards.
We have been taught that there is a correct way to do things, a correct way to think, or to paint, or to be in a relationship. That there is a correct way to be. However, what makes one interesting to say the least is the incorrect. It is the little abnormalities, excesses, imbalances, that make a person adorable. Perfect beings are not adorable (perhaps because they don’t exist).
With respect to painting, I never liked perfectly balanced paintings anyway. I was always fascinated with wild, unbalanced, fleshy compositions that broke out of the confines of the rectangle. I was never interested in making a ‘nice’ painting or even a correct drawing.
This painting by Delacroix is one of my favourite paintings. I am also doing some works on this at the moment….
I have started to think, what would happen if I let myself go, if I stop trying to correct the mistakes I do, or perceive that I do, but on the contrary attempt to incorporate them into my practice. For example work with my clumsiness, follow my racing thoughts and desires, my constantly changing focus. Not fight my inability to stick to a specific image or idea for too long. Work with my inability to define things, to place the boundary between them, to tell where one form starts and the other ends. Incorporate the inability to decide what I really want to do or how I really want the painting to look like. What if all these were not perceived as ‘problems’ but as working material.
I am attempting to focus on this as an experiment for the time being. (Not that I don’t question it all the time and feel helpless most of the time). I am mixing many viewpoints and images into one, and working on many themes at the same time, although the overarching themes are eroticism and the relationship of the body to space.
De Kooning had this, again, when, in the same speech he said. ’ I think whatever you have, you can do wonders with, if you accept them’.
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[1] This focus on an activity as a verb is something I came across in this wonderful book I am reading at the moment, ‘The Art of Is’ by Stephen Nachmanovitch.
The coronavirus diary part 1.
Hallo everybody
I hope you are all well, stay at home and keep your spirits reasonably high, in these strange days..
Here in Athens things are getting harder. Today a total curfew was announced. People will be prevented from moving, apart from going to the super market pharmacy or doctor, exercising outside alone and commuting to and from work . For these you will need to issue special permits. It seems that I will not be able to move freely between home and studio for some time. Not that I can’t but it seems rather complicated. . It’s ok since I have already moved some of my stuff at home and I work from here.
TRYING TO FIT IT ALL IN THIS TABLE
I am not freaking out. On the contrary, I think I am getting a lot from this lockdown. Here I share some of the things and thoughts that make up my everyday reality these days.
I started meditating. Everyday, for 15 minutes. This is the first time I actually commit to doing this and it is thanks to Justin Michael Williams and his audible book ‘Stay Woke’. I actually started with this book two weeks before the coronavirus incident, but it came at the right moment.
I do my yoga practice everyday. Again, after 5 years of practicing, it is the first time I do it everyday. I try to keep my practice as soft as possible. I don’t want to push myself to reach any standard, just to quiet my mind and intention and start recognizing patterns and sensations in my body and way of moving and being
MY YOGA MAT
What has happened lately is that little by little I am starting to recognize an underlying pattern of believing or feeling something is not right, something is not good enough. This is the reason I often feel agitated, not satisfied with what lies before me, thinking I have to change something, correct something, be otherwise. It is the reason I sometimes get tense and do things in a hurry, the reason I sometimes destroy wonderful paintings by overworking them.
LIKE THIS ONE HERE
I have decided to attempt to focus on not pushing myself to attain the unattainable, a standard of perfection, if I may call it this, unattainable because not even existent - it does not have a specific form. It is just Other than what Is.
Even though I chose my path in order to be free, in order to be able to explore and express my deepest desires, in order to escape the feeling of not being where I want to be, I have not escaped the trap of needing an approval, an outside confirmation of what is considered good, or right for that matter. Of course we have all heard that ‘right’ does not exist in art. But my experience tells me otherwise.
I remember I started painting as an antidote to theory. Having studied Social Psychology and then doing my master’s in Media and Communications, I wanted to do something closer to my being. The keyword here is do. I wanted to do things, not think about them, theorize about them or apply other people’s theories about them.
I started painting. And even though my passion was dance, there was something in the act of painting, that drew me more and more to it. Surely this was in part due to its solitary nature. Solitary means being left on one’s own devices, having to decide for oneself how to do things.
Not adhering to standards…
I also saw it as better suited to what I was looking for. My authentic expression, beyond boundaries and limitations. There were no standards, or the standards were so many and variable that practically did not exist. Or so I saw it in the beginning, and this is how I practiced it, with enthusiasm and passion.
Still, after the second year in art school I found myself questioning the practice, myself, the meaning of it all… Teachers in art school are eager to make you get down to the important stuff – why you do what you do- so you will not spend your time painting, not knowing why, like a child…(actual words of teacher)
Or prevent you from taking the wrong path –‘you have things inside that cannot be expressed through painting’- (again, actual words) or, -‘you like this painter”? he is so passé, forget about that direction’…
Or even worse ‘STOP PAINTING”
What happened is, I stopped. For some years at least, until I was done with my studies in art school.
I started painting again right after I finished. And it has been a long way of trying to get back to how I was painting when I first started. With no preconceptions on how it had to look like. Just painting, just acting.
Of course this is something that takes a lot of practice. What I find interesting is how thinking about setting one’s own standards has connected to my thinking about painting as an action and my ongoing project on art as a process . I stop for now and will take it from here soon.
However, I want to share some last thoughts with you,
- Is it perhaps now a time to consider what we truly and authentically love about what we do, about our lives, about our relationships, and concentrate on making these particular aspects flourish, instead of trying to correct something in order to fit in a preconception of how things should be, a time of tackling the issue of believing we are not good enough, and therefore not trusting ourselves and what comes naturally?
- Is it a time now, in relative seclusion and isolation, to get more quiet and start to recognize our voice and distinguish it from the outside critic, mentor, guru, idol whatever?
- This can happen because we are getting more quiet. Perhaps this can be a way of navigating through this hard time and gaining something from it. Something invaluable for the life we are called at the moment to protect by staying quiet.
Take care and stay safe.
AND DANCE, AT HOME
RIP to the most famous unknown artist- Reclaiming a space for Ulay
I was not a fan of Ulay. This is not to say that I did not like his work, I simply knew very few things about him as an artist up to now. That is to say apart from the famous ‘Relation Pieces’ which he co-created with Marina Abramovich, the also famous court case of the two quarrelling over who was it that must have copyright of the works they created and the final official (as it was made public) separation of the couple with the walk along the Chinese Wall. Oh and more recently, his appearance in Abramovitch’s performance ‘The Artist is Present’ where supposedly the two met after many years with tears in their eyes….things that make me break out in spots although the video of this meeting is, in fact, touching.
The idea for this post started with my feeling a certain sympathy for him that it was in line with his ironic statement ‘I am the most famous unknown artist’ that I saw news about his death mostly being spread. I may also be a bit over-sensitive here due to my having attended a Marina Abramovitch show in the Serpentine gallery in London in 2015 and to my objection to the way her art is centered around herself, or her persona. I don’t like gurus and the such status that this artist has assumed, and that the public is so wiling to give to her. I saw people kneeling down and embracing her, looking up to her as if she was the endlightened one…well perhaps she is, perhaps she is a big inspiration to them, I am not the one to judge here but it is something that does not appeal to me personally. I therefore decided to make up for what is a gap in my knowledge about Ulay’s art and his art by doing a bit of research on him which I share here.
Uwe Frank Laysiepen as he was called started out as a photographer and was experimenting with polaroids (he actually started as a consultant in Polaroid) and issues on identity before he met Marina. He was a pioneer in artistic experiments with gender identity. I feel a particular affinity with his main concept of transformation, which relates to my own project.
Here are some of the works I picked out.
In 1976 in Irritation – There is a Criminal Touch to Art, he stole a painting hanging in the Neue Nationalgalerie in Berlin painted by Carl Spitzweg, Hitler’s favourite painter. He then took the painting to the house of a Turkish family and hang it on their wall….with this he wanted to comment on how the Turkish community in Berlin was treated.
His work with photography to reveal what a lie photography really is in FOTOTOT, Photography as death, in what he called performative photography.
His early experiments with identity and gender identity through photography.
Ulay, polaroid aphorisms, 1972-75
Ulay, from the series ‘Renais Sense’, 1973-74
Ulay here actually painted one side of his face to make his traits feminine, it is not a digital collage. It therefore has a performative element in it, bringin the work close to Cindy Sherman’s experiments of the period.
I love the Elf series and the allusion to Nureyef (this is how I see it)
Ulay, Elf, from the polaroid series 1974
………………………………………………………………..(1976-1988)…………………………………………………………………………….
After his work with Abramovitch, he went back to photography but staged some participatory performances, criticizing the European Union and its expansiveness. Later, he focused on the issue of water, especially from an environmental perspective.
I find very intersting and touching on many levels his perfomance ‘The invisible opponent,’, performed in the same room in the Musee d’Art et d’Histoire in Geneva, where he used to perform with his collaborator/opponent. In fact, the room was a choice of the curator of the show and Ulay accepted. In the performance, Ulay uses a pink mirror. Pink was the colour Ulay used for the pages left empty in his monograph instead of the images of the joint performances with Marina Abramovitch, since she did not give him permission to use them.
Ulay, the invisible opponent.
Cancer, as a disease of the body attacking its own self, was the other opponent Ulay was perhaps referring to, and the performance was accompanied with a presentation of his project Cancer.
This is the link to the trailer of his film Project Cancer, which documents his life and work.
https://www.youtube.com/watch?v=djjucxJcAiE
Also these limited edition etching prints, called Unhurt which come out of some other pieces where he created voids on the surface, cutting it by laser. Perhaps the refers to what is gone, making it remain for ever. It could be the negative space between himself and Abramovitch in their performances.
Ulay Unhurt, 2105
Overall I really like his work, I appreciate and can relate to how he uses art to make sense of his personal life and challenges. He is very sensitive and his art is intersting and touching. I am still reading about him and his works, he is an inspiration for my project. However, it is a pity that he does not seem to overcome the ghost of Marina, even in the end, using her to promote his project cancer, as can be seen in the trailer, which is understandable, but nevertheless in my opinion problematic. Who would he be without her? Probably an unknown. His death probably will make him a better known unknown artist.
Sources
This is by far the most interesting , it is written by his curator, Amelia Jones and I am still reading it : https://stedelijkstudies.com/journal/individual-mythologist-jones/
https://www.widewalls.ch/ulay-artist-of-the-week-april/
https://www.ulay.si/
While the backspace transforms into a studio
While the backspace transforms into a studio again, I look back to two phases from the past. My solo exhibition in 2014 and the group show ‘Domestic Matter ‘ in 2017.
Rearranging space
The beginning of the year finds me yearning for more space. Paintings become bigger and the space is rearranged to make them happen.
