Museum of Contemporary Art in Athens (EMST), the permanent collection - installations.
The newly-installed permanent collection takes up three vast floors. We started with the fourth floor, where the vast galleries were taken up with installations.
What if the fabled adventures of Ulysses, upon his return to Ithaca, had never taken place but were in fact Penelope's dreams, 'the monsters of the psyche' as described by Janine Antoni? In the context of exhibitions from 1994 to 2000, the artist slept in this bed while an electroencephalograph machine recorded her eye movements. During the day, Antoni would sit at the loom and weave shreds of her nightgown in the pattern of her REM graph. These sections, recorded while she dreamed, are woven into the blanket.
Nina Panaconstantinou, Sylvia Plath: The Lost Journal, 2008 (paper, black thread)
Rena Papaspyrou, Real Time, 1996, (colour video, silent)
Haris Epiminonda, Untitled #09p/g, 2012, (old Dogon tribe bronze male figure, metal structure, wooden plinth)
Bia Davou, Sails, 1981-1982 (cloth, cotton yarn)
Inspired by theories of communication and aesthetics, Davou developed an artistic practice based on the system of Sequential Structures, organising her work according to the evolution and variation of predetermined principles. In this context, her works emerge through an arduous, painstaking process based on both standardised industrial technique and handicraft. On the basis of Sequential Structures, Davou arranged various visual elements such as dots on a grid, thread on fabric and Homeric verses from the Odyssey.
Kimsooja, Bottari, 2017 (Korean bed covers and used clothes from Athens and Kassei)
Niki Kamagini, At Home, 1975 (mixed media) (metal clothesline, semitransparent silk screens of seaside landscape, attached with clothes pegs)
Bia Davou, Serial-de-re-structures, 1992 (367 drawings, pencil on graph paper)
Chryssa, Newspaper Book, 1962 (wall metallic construction with 5 double-sided paintings)
Nikos Alexiou, Untitled (Tables), 2007-2011 (cane, paper, wax, ink, wood, string, cloth, stone, plastic)
Alexiou uses the remnants of his works as the raw material for creating new ones. Tables constitutes a 'library of materials', fragments and leftovers that can be seen as an artistic palette.
George Hadjimichalis, Days and Nights in York, 1998, (acrylic on 8,760 wooden cubes)
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