tag:blogger.com,1999:blog-77118499002496022152024-02-18T21:35:19.012-08:00Sotirios BahtsetzisIndependent Contemporary Art Curator, Professor in Art HistorySotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comBlogger28125tag:blogger.com,1999:blog-7711849900249602215.post-41131273094758229152022-01-23T00:36:00.012-08:002022-01-26T10:24:53.554-08:00GOING VIRAL (2022)<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi2gGLMhta3HU28u8vqIylOeiB575p9Oihu_nlSIrlaOmRBtmvvty3QIZAKGCxWLhCpQERvcf84iGyhNsfI5vzRjO8Y5_uo3OCFmLZyav17TaDR4yZkpKlN2UcOFlAUV0IN3pt-dSZTAM-bDPt343sbxs3eJz-lJW8TyAUAar3yp3pjf6khK8xNUgdm=s4160" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi2gGLMhta3HU28u8vqIylOeiB575p9Oihu_nlSIrlaOmRBtmvvty3QIZAKGCxWLhCpQERvcf84iGyhNsfI5vzRjO8Y5_uo3OCFmLZyav17TaDR4yZkpKlN2UcOFlAUV0IN3pt-dSZTAM-bDPt343sbxs3eJz-lJW8TyAUAar3yp3pjf6khK8xNUgdm=s320" width="320" /></a></div><p></p><div class="separator" style="clear: both; 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text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhGEsY5J2NbCM0Ev5vaxJxrZFCSddzOLzb1FCXjvCsq-GDgzDWq-8Mhfzle2Th3oqDtEq96kqsR1VBX9mh_nORRq6V_tnm17M4Kc9nNgrtl3V3WMIdJzMqBZx4iHiAVyU9CDZTas9AH_WFWAuirp5KwAk2R1FJZueVZNYIlLsRqwdcgd7Zp2Ljums4s=s4032" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhGEsY5J2NbCM0Ev5vaxJxrZFCSddzOLzb1FCXjvCsq-GDgzDWq-8Mhfzle2Th3oqDtEq96kqsR1VBX9mh_nORRq6V_tnm17M4Kc9nNgrtl3V3WMIdJzMqBZx4iHiAVyU9CDZTas9AH_WFWAuirp5KwAk2R1FJZueVZNYIlLsRqwdcgd7Zp2Ljums4s=s320" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiZSe-IeqHb9Yi4kU_gSXRfbUEErsKOT3D03j3WnsymsIzT-N-P0JAKm2cvuqBpqa2XvbNsh-zUPvh-IETM42qGKQb2jBUcX2qQyQSTr4MbMNyi83BsAmVD5O1ZaXoWT3q9L9_pWfNYKw_dtqnapBBxHxMNhyrIsEJnEzwiKZjSUEIJUjCm9lO_AhP7=s1440" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiZSe-IeqHb9Yi4kU_gSXRfbUEErsKOT3D03j3WnsymsIzT-N-P0JAKm2cvuqBpqa2XvbNsh-zUPvh-IETM42qGKQb2jBUcX2qQyQSTr4MbMNyi83BsAmVD5O1ZaXoWT3q9L9_pWfNYKw_dtqnapBBxHxMNhyrIsEJnEzwiKZjSUEIJUjCm9lO_AhP7=s320" width="320" /></a></div><br /></div><div class="separator" style="clear: both;"><br /></div>The aftermath of the covid-19 pandemic literally illustrates the meaning of the word “viral” and magnifies the importance of unity on a global scale. It shows our interdependence as human beings and how imminent the effect is of one individual on the entire collective. It also reveals how our beings are dependent upon our entanglement with the natural world we are born into and the technical world we have created. Inspired by this, the exhibition addresses issues such as displacement, identity, embodiment, social cohesion, feminist care and posthumanism, in a step of taking action, in the spread of thoughts, ideas, feelings and deeds. The exhibition GOING VIRAL, at STEINZEIT Galerie in Berlin Friedrichshain-Kreuzberg organized by AthenSYN presents positions by 15 contemporary Greek artists. </div><br /><div><br /></div></div><br /><br />Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-11736180201427368852021-11-22T11:53:00.008-08:002021-12-13T09:23:55.644-08:00TALE OF X CITIES ONLINE FESTIVAL WITH ON SITE EVENTS IN 12 CITIES ACROSS NORTHERN GREECE (2021)<p> </p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rmsc3N22Tp45YWp75bVEGNwHkmKVrB9OB2anhLwtcPgrNl_wprHx1dLagqii7NulI_1KEwTzYLTYodo84o4qB7et1bAUycOAY1o9-78ARtbrjAE32f5voeooJ3NnOjJy5j6y74WblGA/s2048/KAX_7692.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1362" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1rmsc3N22Tp45YWp75bVEGNwHkmKVrB9OB2anhLwtcPgrNl_wprHx1dLagqii7NulI_1KEwTzYLTYodo84o4qB7et1bAUycOAY1o9-78ARtbrjAE32f5voeooJ3NnOjJy5j6y74WblGA/s320/KAX_7692.jpg" width="213" /></a></div><br /><p></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhblCzk9pdvnW5OJyR9LHDetLqOEhb3hrT_IuCAndR5byedi2ebf4zVTfv9ql-t7JQQEp_Ni3I6IEIN8QpIHLWTjNzEb-QK-Y_owdvrn3BX7vSN71QDUW68RWKda0RiUizynrTCHI5s3Gg/s2048/KAX_7849.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1362" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhblCzk9pdvnW5OJyR9LHDetLqOEhb3hrT_IuCAndR5byedi2ebf4zVTfv9ql-t7JQQEp_Ni3I6IEIN8QpIHLWTjNzEb-QK-Y_owdvrn3BX7vSN71QDUW68RWKda0RiUizynrTCHI5s3Gg/s320/KAX_7849.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg4t1mTpkRhepm-B89KJo1FP0QE5ivKt7lvzNTg3RzMITepMxdBqjygicSuSLeswl43-viVRZA5OdCKl8lCvHMVc-cDbyuR_W1-1PQup4HfwSdGvT2s6nhvI2gMH7tNs5IpGMjxhB3_6g/s2048/KAX_7881.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1362" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg4t1mTpkRhepm-B89KJo1FP0QE5ivKt7lvzNTg3RzMITepMxdBqjygicSuSLeswl43-viVRZA5OdCKl8lCvHMVc-cDbyuR_W1-1PQup4HfwSdGvT2s6nhvI2gMH7tNs5IpGMjxhB3_6g/s320/KAX_7881.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjja4tKN45Sy0MjLegvp8UKPncAVEz5cuct6z2jcODIpzDYysE9GRnl5VoysfhbcLvaUqjv9G2fsObbrGH-qBu9-DGy2WkYvP75ow_QWu6Cs_qRgUwsE7BXJNt4rKIFVMGH2_UOeW4j6dQ/s2048/KAX_7970.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1362" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjja4tKN45Sy0MjLegvp8UKPncAVEz5cuct6z2jcODIpzDYysE9GRnl5VoysfhbcLvaUqjv9G2fsObbrGH-qBu9-DGy2WkYvP75ow_QWu6Cs_qRgUwsE7BXJNt4rKIFVMGH2_UOeW4j6dQ/s320/KAX_7970.jpg" width="320" /></a></div><p>The project Tale of X Cities (part of the <a href="https://www.commonlab.info/" target="_blank">Common Lab </a>project) is an experiment of art for social change, aiming at the empowerment of communities through art. The project brought together for the first time more than 20 institutions and 150 participants from 12 cities across Northern Greece. It rounds up its first year with a 2021 festival that takes place online and in various sites in all the participating cities. The participants works which bring us stories from their cities, and local events by the partner institutions, are presented alongside talks and discussions that explore the essence of Tale of X Cities' philosophy and highlight the future possibilities of socially engaged art. At the same time, audiences explore the festival content through specially designed info-points, installed in public spaces in all participating cities. Tale of X Cities (part of Common Lab) is a project by ArtBOX and Goethe Institut Thessaloniki. </p>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-49498701545207396482021-11-21T03:32:00.008-08:002022-01-31T09:12:45.038-08:00MOMAFAD - Curating Ephemeral Icons (2021)<div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIU2bP_G3sfonooa0A1q2mw1-ZZd0Q481vdxRGjYOCBQ5_w15FrQffaN1I0R6yB2NF43ta0XULT09qKv1mWg-o3sMLmXnIIFMoFzdbTiB8RcGCPWG9OALqzpcNt6O39pVSvTBQFxy-jJ0/s1238/christofilogiannis.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="906" data-original-width="1238" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIU2bP_G3sfonooa0A1q2mw1-ZZd0Q481vdxRGjYOCBQ5_w15FrQffaN1I0R6yB2NF43ta0XULT09qKv1mWg-o3sMLmXnIIFMoFzdbTiB8RcGCPWG9OALqzpcNt6O39pVSvTBQFxy-jJ0/s320/christofilogiannis.jpeg" width="320" /></a></div><p>Contribution to MOMAFAD with Curating Ephemeral Icons and a presentation in the <a href="https://www.emst.gr/events/momafad-egkainia-dimosia-syzitisi" target="_blank">National Museum of Contemporary Art</a>, in Athens</p><p><br /></p>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-31720717064513207772021-06-14T07:15:00.006-07:002021-09-21T04:55:27.439-07:00What is the culture of modern Greece? (2021)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzF3EuLICqHTiSGDRo_S_xaNiU4MH4LImLApM4Kidmvnsi7XgWGtBkyfNVwJr1hEEzQ-eLQQTmiM1-qpCm2kovgWqEU6bRmTd-qNjnINoODwLmB4W7z1NZL5doJaK84gk_tYkGrozS1M0/s1280/%25CE%25A3%25CE%25A9%25CE%25A4%25CE%2597%25CE%25A1%25CE%2597%25CE%25A3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzF3EuLICqHTiSGDRo_S_xaNiU4MH4LImLApM4Kidmvnsi7XgWGtBkyfNVwJr1hEEzQ-eLQQTmiM1-qpCm2kovgWqEU6bRmTd-qNjnINoODwLmB4W7z1NZL5doJaK84gk_tYkGrozS1M0/s320/%25CE%25A3%25CE%25A9%25CE%25A4%25CE%2597%25CE%25A1%25CE%2597%25CE%25A3.jpg" width="320" /></a></div><p>Participation in the documentary “Why 21? - 12 Questions ”Episode 11: What is the culture of modern Greece? (Presentation-Research-Editor-in-Chief: Marilena Katsimi, Pierros Tzanetakos, Director: Elena Lalopoulou, Research Associate: Christos Chrysanthopoulos)</p><p><a href="https://www.ertflix.gr/docs/giati-21-12-erotimata-ep11-ti-einai-o-neo-ellinikos-politismos/">https://www.ertflix.gr/docs/giati-21-12-erotimata-ep11-ti-einai-o-neo-ellinikos-politismos/</a></p>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-69296403815423451962020-11-02T23:50:00.003-08:002021-12-13T09:21:51.060-08:00FREIRAUM ONLINE SUMMIT (2020)<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU9AmH43xAr0je3hYm6stitAIqHhoU0dgQ4urY7G9MN20jTJF2ah5fh5FY6HVTA9_W_ma0BvYyIpVqvaamD8zXMO5bHywceBLLT8sKAkeTnkRU7LOCF8Cnx9wqr43CMlWnbYCzDXVkiPs/" style="margin-left: 1em; margin-right: 1em;"><br /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU9AmH43xAr0je3hYm6stitAIqHhoU0dgQ4urY7G9MN20jTJF2ah5fh5FY6HVTA9_W_ma0BvYyIpVqvaamD8zXMO5bHywceBLLT8sKAkeTnkRU7LOCF8Cnx9wqr43CMlWnbYCzDXVkiPs/" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWwLn_pwAnJdp9zhyphenhyphenvhibmHU_h0RiH-T0rIkXgcQtpxLW9uajeTdfZ9CLSNTMyHA42sTWvOFoTDoygSUqNCwNkRNHI5BM1dXZP5ZAV_RTT4tbEdgPaNu47CnPGBwpms_GayP5VS5mxaQ/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1512" data-original-width="2016" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWwLn_pwAnJdp9zhyphenhyphenvhibmHU_h0RiH-T0rIkXgcQtpxLW9uajeTdfZ9CLSNTMyHA42sTWvOFoTDoygSUqNCwNkRNHI5BM1dXZP5ZAV_RTT4tbEdgPaNu47CnPGBwpms_GayP5VS5mxaQ/" width="320" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVWwLn_pwAnJdp9zhyphenhyphenvhibmHU_h0RiH-T0rIkXgcQtpxLW9uajeTdfZ9CLSNTMyHA42sTWvOFoTDoygSUqNCwNkRNHI5BM1dXZP5ZAV_RTT4tbEdgPaNu47CnPGBwpms_GayP5VS5mxaQ/" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGb7AK0bzGtW9NFelo9FOZe0JIFwa6oxcpmAUJcpE0-WCyYXZoCbyP3mmnQt1WX1pOU4GCx2cOPyJqjvw8yoH7ZSXiLpsJjSzPLiUEUaSKRLQ9G0uhVWyrLu7IoY0HY6AOe6CDQV1ppo/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrGb7AK0bzGtW9NFelo9FOZe0JIFwa6oxcpmAUJcpE0-WCyYXZoCbyP3mmnQt1WX1pOU4GCx2cOPyJqjvw8yoH7ZSXiLpsJjSzPLiUEUaSKRLQ9G0uhVWyrLu7IoY0HY6AOe6CDQV1ppo/" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvieSInlfJQUIF3GMMoaJEoEB81beASJKhQoJvFmRspROqib3ythGqB183SXydgNQscwccXGoimVceU9MuATqz-a9QiRFjh7bFooLZIuePPXZcH6Xo06cYprliSbMLBbFsLwDwCETqkrs/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvieSInlfJQUIF3GMMoaJEoEB81beASJKhQoJvFmRspROqib3ythGqB183SXydgNQscwccXGoimVceU9MuATqz-a9QiRFjh7bFooLZIuePPXZcH6Xo06cYprliSbMLBbFsLwDwCETqkrs/" width="320" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvieSInlfJQUIF3GMMoaJEoEB81beASJKhQoJvFmRspROqib3ythGqB183SXydgNQscwccXGoimVceU9MuATqz-a9QiRFjh7bFooLZIuePPXZcH6Xo06cYprliSbMLBbFsLwDwCETqkrs/" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx1Cv3-i5KTAizSP8ra-Hhoiddf9dps2IXjJfqu8mWscK4X2wEzwxubUoBKcqMYp2HSv2posKTZ-7Usbgcjl_Olt1dwtFa7JG_rSNS09NUtI4suCuhW5V97nsHU1CgUIiin2eBs3gvMb8/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1365" data-original-width="2048" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx1Cv3-i5KTAizSP8ra-Hhoiddf9dps2IXjJfqu8mWscK4X2wEzwxubUoBKcqMYp2HSv2posKTZ-7Usbgcjl_Olt1dwtFa7JG_rSNS09NUtI4suCuhW5V97nsHU1CgUIiin2eBs3gvMb8/" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><p style="text-align: left;">The<a href="http://www.freiraumfestival.eu/" target="_blank"> Freiraum Online Summit</a> is part of the Freiraum Festival 2020, a collaborative, decentralized, democratized festival taking place simultaneously in the physical and the digital worlds. Freiraum is a project of the Goethe Instituts in Europe.</p><p style="text-align: left;">The festival has been developed jointly by more than 40 organizations spread around Europe, and includes more than 20 Local Events, dealing with issues that have been accelerated by the recent pandemic crisis: the “State of Freedom in Europe today: the ongoing biopolitical crisis and emerging social movements", and the “State of the Arts: new formats and audiences”. During the three days at the end of October (30/10-1/11), established thinkers and audiences around Europe gather to discuss these issues, online and offline, in specially conceived events that transform the local into a subjective center. </p><p style="text-align: left;">The Online Summit was organized by ArtBOX. It combines a studio and teleconferencing platform (zoom). It includes talks, discussions, artistic interventions especially made for the online format, and live connection with the local events held by the Freiraum partners. The “State of the Arts: new formats and audiences” was organised in partnership with the Common Lab project by Goethe-Institut Thessaloniki & ArtBOX, in the framework of Goethe-Institut's Excellency Initiatives 2020-21, in collaboration with TIF-Helexpo (GR).</p><p style="text-align: left;"><a href="https://www.efsyn.gr/nisides/271567_skeftoyme-tin-eleytheria-sti-meta-covid-epohi" target="_blank">Άρθρο</a> της Βασιλικής Γραμματικογιάννης</p></div><br /></div><br /></div><br /></div><br /><p></p>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-17100765314916805712019-11-15T21:57:00.002-08:002021-01-07T08:33:33.063-08:00HOMEMADE EXOTICA (2019)<div dir="ltr" style="text-align: left;" trbidi="on">
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Since the beginning of the European idea, Athens has been an exoticized utopia. Recently, as a result of the 2009 worldwide financial crisis, Athens has become the exotic scene of a global drama that has attracted many, including the curators of the recent documenta14.<br />
The exhibition HOMEMADE EXOTICA, at <a href="https://www.freiraum-berlin.org/" target="_blank">FREIRAUM in der Box </a>in Berlin Friedrichshain-Kreuzberg organized by <a href="http://www.athensyn.com/" target="_blank">AthenSYN</a> presents 16 contemporary Greek artists. What can "learning from Athens" mean in a time of upheaval for Europe, in which all values rooted in European soil that underpin our cultural heritage are questioned? What is left after the demystification of a country, which has been subject to stereotyping since 18th-century philhellenism, labeled a tourist paradise, and imprinted with the stigma of the crisis? Why are these questions essential for our coexistence in an ethically corroded system?<br />
Some artworks tend to surround every day, mundane and almost invisible with mystique, fantasy, and grace. This exotic re-enchantment of our world is often done by paying particular attention to the small details of private interiors or personal mementos. Other works apply the visual rhetoric of the past, that being the techniques of Renaissance-like, chiaroscuro painting, the detailed observation of society, or even the dismantling of abstract painting in the painterly installations. Hidden facets of Athenian life are uncovered as well as unveils aspects of characters shaping the intellectual life of the city. Cultural stereotypes and biased points of view are discussed; as well as cultural cross-overs and entanglements.<br />
The artworks of the exhibition Homemade Exotica induce an almost experiential immersion and invite viewers to become participant in the artworks’ area of research, the Athenian life and its fragile poetics - while at the same time inviting the viewer to dismantle narratives around a mythical place of ancient and contemporary times. Athens acts as a prime example of stereotyping images and utopias of "the other" which tend to get in the way of essential communication and exchange, no matter which whom or what.</div>
Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-26883548865524225212019-01-22T04:38:00.000-08:002019-01-22T04:38:53.492-08:00THE SCHOOL OF EVERYTHING at DOCUMENTA 14 (2017)<div dir="ltr" style="text-align: left;" trbidi="on">
<i>The School of </i><i class="">Everything</i>, was a symposion presented in context of <i>Documenta 14 </i>in Kassel (11.-13.6.2017) and Athens (6.-7.7.2017) and bringing together participants from scholarly, artistic and activist backgrounds. The participants act within education and invent new educational formats understood as research-based activist works of art. They develop anti-border, open source and horizontal knowledge-sharing platforms. They engage either as practitioners and reformers or theoreticians with radical pedagogy from a historical and philosophical point of view. Participants from various initiatives and institutions are invited to fantasize and share their ground-breaking visions on a future planetary education while working together for the formation of a new collective curriculum. The School of Everything is a model for the university of the Twenty-first Century, for which universal learning is a mode of existence and the core of emancipation. The Kantian „dare to know“ can only mean a „know to dare.“ The School of Everything becomes the School of Everyone.<br />
The symposion focuses on contemplative and generalized explanations on art-as-education, which enables an enfolding of systemically hidden complexities. It relates to concrete examples of alternative educational formats or sudden dynamics and unexpected proposals while discussing and creating a common curriculum to be proposed to educational institutions in our reach. Participants of the symposion will debate on newly developed formats of art-as-education aiming at the distribution of new fields of discourse, which replace the Empire's patterns of thought and its established academic disciplines. The symposion adheres to compassion, ethical responsibility, transdisciplinarity, gender neutrality, subaltern discourses and creative figuration, as well as a double conjoining: on the one hand, the merging of scientific knowledge with the humanities, on the other, the merging of theory with practice. The symposion focuses on creating future art schools, which may function as the grounding force and a new educational paradigm.<br />
The School of Everything was organised by Autonomi Akadimia and AthenSYN.<br />
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-56771108530403650042017-04-12T08:27:00.002-07:002019-01-19T13:42:24.391-08:00UNIVERSITAS at Trii Art Hub (2017)<div dir="ltr" style="text-align: left;" trbidi="on">
In the face of over 60 million people migrating today and given the current political situation in Europe with the rising of xenophobia and populist political movements, it becomes imperative to invent new means of bringing people together in a society, without however homogenising them or subjecting them to class hierarchies, social stereotypes and identity politics of all kind. In her essay "We Refugees," (1943) philosopher Hannah Arendt argues for the right of migrants to be politically active and to participate in social practices while acknowledging in them “the vanguard of their peoples.” When we see the migrant as “the political subject of the 21st century” we necessarily call into question established political principles while challenging notions such as global citizenship, democratic way of living and collective self-mastery. How are we all in Europe to learn and develop from this novel situation?<br />
The exhibition is based on the belief that culture and education through shared knowledge are the best means to achieve this goal. With the present artistic research project, we want to create a practice- based model of a “community of teachers and learners" (universitas magistrorum et scolarium), to develop a new form of shared knowledge, which remembers its origin as a "community," the literal meaning of the word “Universitas". We want to set a new paradigm by developing a place of study and horizontal transmission of knowledge for the less privileged that demonstrates the cancellation of existing biopolitical exclusion of migrants. “Learning by doing" is what we aim for in the experiment, the means of which will be a collective writing of a history of the current situation.<br />
The UNIVERSITAS exhibition follows a series of workshops offered by artists from Syrian, Greece and Germany in the Eleusis camp, the Skaramangas camp, the Chora community center in Exarxia and at the premises of Athens Biennale at Varvakeios and at Bageion.<br />
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-56521915275844495322015-11-24T11:57:00.000-08:002019-01-20T04:14:52.291-08:00GOETHE's DREAM - ARTECITYA AGENCY (LAUNCH: 23.11.2015)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.artecitya.gr/goethes-dream.html" style="text-align: left;">Goethe’s Dream</a><span style="text-align: left;"> is the first large-scale project by the </span><a href="http://www.artecitya.gr/" style="text-align: left;">ARTECITYA AGENCY</a><span style="text-align: left;">. It includes three works – commissions to artists Giorgos Gyparakis, Alexandros Psychoulis </span>and<span style="text-align: left;"> Theodoros Zafeiropoulos, who were invited to re-design the outdoors, public spaces of Goethe-Institut Thessaloniki’s building complex. The artists propose three contemporary artistic practices that, based on a critical appropriation of artistic traditions, establish models of reaction against the social stagnation of art. The three works –which, to a greater or lesser extent, reference the </span>arcadian<span style="text-align: left;"> utopia, a popular theme in art since antiquity and a source of inspiration for literary, philosophical and artistic movements– do not only address the aesthetics of </span>self-reflection,<span style="text-align: left;"> but also create ways of wide social interaction and practices of everyday human life.</span></div>
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-91363373899109788932015-05-21T13:12:00.001-07:002019-01-19T13:42:58.710-08:00BEAUTY IS THE METHOD Art Gallery of DEREE The American College of Greece (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
The exhibition showcases works, which appear to be poetic images of pure beauty, or conceptual-formal abstractions. Understanding a work of art as a beautiful, mathematical formalization (Badiou), or as an ‘affective hardware’ (Kittler), means to oppose art to the powerful industries of the Imaginary, making poiesis the proper ideological counterbalance to current aestheticized, relativist and historizing notion of culture. In this regard works of art offer subtle, rebellious and in the same time truthful dispositivs of art (formulae, metaphors, poetic imagery, figures of speech).<br />
The heuristic devise of an exhibition, which tries to bring people together and inspire them to act, wants to set a mark towards this goal, while presenting works of art in an idiosyncratic way. It aims at making a step forward towards establishing a manifesto on dispositivs of truth in the art of today.<br />
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-54125772674298690632014-03-07T14:13:00.001-08:002019-01-19T13:43:20.089-08:00SELFCONSCIOUS Art Gallery of DEREE The American College of Greece (2014)<div dir="ltr" style="text-align: left;" trbidi="on">
Advertising media, Broadcast media, Digital media, Electronic media, Hypermedia, Mass media, Multimedia, New media, Social media … the catalog is prolific. Divergent, but all have something in common: technological media are not tools as much as they are a significant part of our social and psychological lives, intervening not only in what we do but in how we think and feel. Computer, network and digitally generated “new” images, constitute not just another type of representing, but of perceiving. These images manufacture and articulate lived experience. In this respect, media participate actively in social processes creating a novel human condition. Affect and identity are constructed around vast digital archives that are able to impact how people think of themselves. Information technologies are becoming our second nature. This novel “genealogy of the sensible” requires one to rethink the actuality and historicity of human desire and aesthetics. Are there consequences for one’s psychic and collective individuation?<br />
The exhibiton, SelfConscious, asked artists to re-think the notion of contemporary identity—both collective and singular—by expressing themselves using a variety of technological media. Questions for the viewer to entertain include:How does novel audio and/or visual technologies construct a culture or counter-culture of affect, emotion, memory, desire? Do the installations propose a reconceptualized society?<br />
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-7541868377137804522013-04-26T08:34:00.002-07:002022-06-17T10:44:26.229-07:00ENTER VIEWS ON CRISIS (2013)<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://www.enterviewsoncrisis.org/">Enter Views on Crisis</a> is an on-going project with the overall objective of decoding, analyzing and mapping crisis, in order to understand it, suggest solutions and multiply questions, through critique, production of scientific and artistic knowledge and creativity.<br />
The project functions as an open devise, comprising various types of interdependent and intertwining activities, such as academic workshops, interdisciplinary scientific research, public presentations, publications, artistic research and production.<br />
The project focuses on the interview format, as art form, means of communication and source of information. An archive of interviews will be created through the establishment of a network of creative partners throughout Europe.<br />
The various project elements, such as the interviews archive and the process of their production, the art works - interpretations of the project findings and the outcomes of the research carried out, will be presented through a roadshow using various public presentation formats (mobile microarchitecture, traveling exhibition, video recording studio operating as a media sculpture, performances, documentary film and others) throughout Europe.<br />
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-37287330040723327352011-10-28T07:05:00.000-07:002019-01-19T13:43:51.794-08:00ROAMING IMAGES Routes - MMCA - Biennale 3 Thessaloniki (2011)<div dir="ltr" style="text-align: left;" trbidi="on">
Roaming Images Routes at the Macedonian Museum of Contemporary Art in Thessaloniki is an exhibition (18/9/2011 - 8/1/2012) consisting of works of art that have been produced and/or exhibited in the frame of the <a href="https://sites.google.com/site/roamingimages/">Roaming Images</a> project. This project has been organized during the Biennial year 2011 in various cities – stations of the Arabian peninsula including the broader area of the Middle East. In cities such as Muscat, Sharjah, Alexandria, Jaffa, Nicosia, Beirut and Damascus, appointed correspondent curators have been asked to select artists and scholars based in these cities and conceive and implement a project in collaboration with institutions of their region. The local projects, which have been specially developed for this purpose have been inspired by the theoretical framework of Roaming Images and they take various shapes and formats such as exhibitions, video programs, public lectures, roundtable discussions, workshops, filmic documentations. Roaming Images Routes at the MMCA integrates these works in a single presentation along with the documentation of the initial events in the various cities of origin.<br />
The outcome of this endeavor is a kaleidoscopic view of contemporary art, a map of creativity along these geographic and cultural routes. The unique work-in-progress character of Roaming Images Routes is also reflected in the form of its presentation at the MMCA in Thessaloniki. It takes place in the form of continuously remodeled displays showing different works each time during the Biennial. Each setting creates different types of dialogues between works of art and a novel point of view on geographies and cultures.<br />
In this regard, an important part of the project is to reflect also on the conditions of its own reception and dissemination. The project offers a double viewing, on one hand by the audience of the local event, and on the other by the audience of an international biennial. This raises the question on the ‘marginal’ visibility of art communities and cultural territories of the art system’s periphery. But it also puts the question about a notion of art production that is orchestrated in such a way so as to be seen by the ‘Other,’ providing thus a unique angle from which to approach the notion of globalization.<br />
Roaming Images Routes raises questions of interpretation on ‘world pictures’ searching for and documenting the traces of various cultural genealogies and traditions through the eyes of contemporary artists who live and work at the Arabian peninsula and the broader area of the Middle East. How can we scrutinize issues of representation and orientalist stereotypes – meaning the Western view in regions of the Middle East but also received ideas and clichés of the Western world found in these societies? How can we scrutinize the Greek legacy of the image further elaborated in European Modernity and how this common cultural tradition has been dispersed in contemporary societies? What does it mean to reflect on the apparent ‘aniconic’ conventions of the Arab world and to negotiate such conventions with the means provided by contemporary art within its own traditions? What is the role of the powerful industries of the Imaginary (media of visuality and image-based tools of communication and spectacle) within any kind of universalist aspirations, which seem to rather assimilate than promote differences? How images can contribute today to an ideological and political understanding given the revolutionary wave of demonstrations and protests recently experienced in the Arab world known as Arab Spring? How is the Western world affected by these changes?<br />
All these questions are scrutinized in one way or the other through the insightful work of artists who live and work in places where such conflictual situations arise. These artists are the appropriate discussion partners on seminal issues about both what we see and how we see it, and in effect about political issues that influence us. Without wanting to offer final or binding conclusions Roaming Images Routes at the MMCA creates a map of trajectories within the global flow of visual culture offering to spectators a navigation system of competence within current condition of a uniforming hybridization that endlessly multiplies not only images but also ideas and ways of living. Roaming Images Routes is indeed a bridging event that links ideas, practices and testimonies and brings together people worldwide. Not to forget also the hundreds of art professionals, artists, curators, scholars in several countries who embraced such a vision and worked for its realization and to whom I express my profound appreciation.<br />
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-88536995267157212482011-06-24T23:07:00.001-07:002019-01-19T13:44:11.152-08:00MAPPING THE ART SCENE IN SHARJAH AND THE UAE - Roaming Images (2011)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "; font-size: 100%;">The exhibition of <i style="mso-bidi-font-style: normal;">Roaming Images</i> researches the various concepts of image along with the ideologies and geo-cultural climates that fostered them. The notion of image becomes therefore the universal vehicle that tells us the story of how we speak, how we think and even envision the future. This rubric moves us beyond the sterile adherence to the aesthetic creed of a homogenizing modernism and various postmodernisms often directed by archeological or ethnographic interests. </span></div>
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<span style="font-family: "; font-size: 100%;">Main part of the exhibition, which will be presented at the MMCA during the 3<sup>rd</sup> Thessaloniki Biennial is a series of projects that take place in various cities - stations, along the route linking Muscat (Oman) to Thessaloniki (Greece). These projects are planned and implemented by appointed<b style="mso-bidi-font-weight: normal;"> </b>with the participation of local artists and scholars, in collaboration with local institutions (Local Partners). <i style="mso-bidi-font-style: normal;">Mapping the art scene in Sharjah and the UAE </i>was the participation of the United Arab Emirates to the Roaming Images project. UAE's contribution consists of a workshop with the title <i style="mso-bidi-font-style: normal;">Images Make Sense </i>(organized by Giuseppe Moscatello and Sotirios Bahtsetzis) and a concluding exhibition at the <a href="http://www.alqasba.ae/"><i style="mso-bidi-font-style: normal;">Maraya Art Centre</i> </a>in Sharjah curated by Sotirios Bahtsetzis. The exhibition presents works by Ahmed Al Hamdi, Ammar Mohammed Al Attar, Ebtisam Abdulaziz, George Katodrytis, Khalil Abdulwahid, Maisoon Al Saleh, Mark Pilkington, Noor Al Suwaidi, Paolomaria, Tarek Al Ghoussein, Tim Kennedy, Tini Meyer, Zlatan Filipovic.</span></div>
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-40852100153982591662010-08-16T14:29:00.000-07:002019-01-19T13:41:13.379-08:00KUNSTHALLE ATHENA - THE BAR (2010)<div dir="ltr" style="text-align: left;" trbidi="on">
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During the 2010 IKT Congress in Athens (13-16 May) the Kunsthalle Athena - The Bar, located on an empty building in Metaxourgio Keramikos, the gallery area of downtown Athens, has been operating 24 hours a day.<br />
The Kunsthalle Athena - The Bar is concieved as a place that fosters unofficial meetings while promoting an alternative way to experience art. The project Kunsthalle Athena - The Bar was initiated out of the need to create an open space for creativity and dialogue between artists, curators, and other experts. It mediates between Athenian public and art practitioners and scholars from around the world. Curatorial activity in its initial understanding as study of the poetics and politics of display, becomes part of a living art event. Looking outside the “white box” the project functions as an alternative way to foster the often overlooked or naturalized task of curators as a creative-adaptive discipline. While being an offer for first-hand experience the project Kunsthalle Athena - The Bar brings artists who link their activities with Athens together with inspired cultural mediators, caregivers and facilitators. The project Kunsthalle Athena - The Bar hosts a variety of events related both to Athens and the emerging institution: Site-specific and new commissioned installations, public responsive performances, a media bar with books, magazines and blogs’s archive, screenings, dj-sets and musical performances come together with a DIY bar-restaurant within the specially designed interior of the venue and a taxi service! Current exhibition in the project Kunsthalle Athena - The Bar has been created as an offer of artists, in order to put ideas into orbit and get caught up in perpetual motion.<br />
The exhibition Kunsthalle Athena – The Bar, has been co-curated with Marina Fokidis with the participation of the following artists: Aids-3D, Alexandros Georgiou, Alexandros Mistriotis, Amateur Boyz, Andreas Angelidakis, Angelo Plessas, Annika Larsson, Christina Dimitriadis, Dimitra Vamiali, Forte, Gert & Uwe Tobias, Helga Wretman, Heracles Renieris, Jenny Marketou, Joulia Strauss, Juliette Bonneviot, Kostas Tsioukas, Lydia Dambassina, Manolis Baboussis, Marc Bijl, Mathieu Laurette, Olaf Nicolai, Panos Koutras, Pantelis Pantelopoulos, Paul Zografakis, Penelope Georgiou, Heinrich Spaeth, Rafael Rozendaal, Robert Pettena, Socratis Socratous, Warren Neidich, Ylva Ogland, Yorgos Sapountzis, Yorgos Stamkopoulos<br />
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<a href="http://www.kunsthalleathena.org/">www.kunsthalleathena.org</a><br />
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-23743431085373679142009-06-08T04:51:00.000-07:002009-06-08T14:22:59.660-07:00PAINT-ID (2009)The exhibition “Paint-id” is a presentation of young and emerging artists in Greece focusing on current trends in painting. It comments on recent international developments in both a curatorial and theoretical level concerning the 'return' of the painting medium. Posed from this specific point of view a parallel reading of contemporary art production in Greece is suggested within an international framework. Images which are produced today by means of the painting-medium constitute an individual, definitely non-hegemonic category, a 'sub-species' of image together with the technologically produced photographic, cinema, or digital image, the other very many 'spatial' images, such as those in installation art, in architecture, in the theatre, and dance, or the 'pictographic images' of a music score or a text of poetry. All these, including painting, continue to attempt to give a reply to the question of how meaning is produced through them, and what is the significance of the visual today. The question about painting today comes at a moment in history when traditional philosophical 'aporias' are no longer put forward only as linguistic problems and queries about theories of knowledge, but as visual enigmas (visual turn). Through this exhibition, the following questions are posed: how far is the contemporary work of painting a comment on the historically determined relation between the image and the society that produces it? And how far is the painted image a space for re-thinking of contemporary visual culture in general? Can painting still articulate conceptual thinking in connection with major anthropological constituents or even current political issues? In this way, the title 'Paint-id' should be read as a question about the tabula rasa of painting, both as 'identity' and as 'Id', as we call, by an idiosyncratic of terminology, the psychoanalytically defined, ontological unconscious infrastructure of what we call the 'image', that sui generis entity which moves in the conceptual complex between subjective and collective, between imaginary and reasoned reality.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUYmuDhPUXbn0RYDLvrKa9ZiGvEvw44Cgg1mhYBWCwEEDD8yFitxwdwfHA_zzi9NBVWKJS2aYtrYYIFfSRYHTtIrprShROL8pvER1LnaKjAoV3bJ1PkY46m3OSJIMhpHNCuCsKpw-2ajw/s1600-h/2677_int..jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUYmuDhPUXbn0RYDLvrKa9ZiGvEvw44Cgg1mhYBWCwEEDD8yFitxwdwfHA_zzi9NBVWKJS2aYtrYYIFfSRYHTtIrprShROL8pvER1LnaKjAoV3bJ1PkY46m3OSJIMhpHNCuCsKpw-2ajw/s400/2677_int..jpg" alt="" id="BLOGGER_PHOTO_ID_5344924283704815650" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9_pkg1dsxbNKRFTa4dG70FTLt8f1_Zsl-pjpij1ncSn5K2lgMEAMc7UkReY82zuKsFEcSbfn6L10qnEbv8t9zZRWa02Shl9nz3tKdltx1p8iZROszwCVCqsjtwMLo8ghOUKiQqwLcHAk/s1600-h/2670_int.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9_pkg1dsxbNKRFTa4dG70FTLt8f1_Zsl-pjpij1ncSn5K2lgMEAMc7UkReY82zuKsFEcSbfn6L10qnEbv8t9zZRWa02Shl9nz3tKdltx1p8iZROszwCVCqsjtwMLo8ghOUKiQqwLcHAk/s400/2670_int.jpg" alt="" id="BLOGGER_PHOTO_ID_5344924538768374754" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4f85P81ay8xgFTpGNsgy3toUgoYB6RK9UMyT1ZTev8iG8p6ikAaXGv0ntxtvvoQ9qtoOfXExNO7EdfSjhgLMvVR_QGTJECzud1sr8BpUUh8WNYd2rhCnAkqFxPgO1XHSV4dzre_TS8jE/s1600-h/2681_int..jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4f85P81ay8xgFTpGNsgy3toUgoYB6RK9UMyT1ZTev8iG8p6ikAaXGv0ntxtvvoQ9qtoOfXExNO7EdfSjhgLMvVR_QGTJECzud1sr8BpUUh8WNYd2rhCnAkqFxPgO1XHSV4dzre_TS8jE/s400/2681_int..jpg" alt="" id="BLOGGER_PHOTO_ID_5344924719556507650" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFXySk2Iso1RN1NWvC0PBLrr3fpYTqO2eA-twCagekO1IytLPX3YEY-wuJFl3xwaIqO8BHwa1RCZAWQXA82xiWx4EQLMuGjUlQ2JzUPGSPh98D_0d8RBmo3ldZxEtV39sS5D65egY80FU/s1600-h/2702_int.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFXySk2Iso1RN1NWvC0PBLrr3fpYTqO2eA-twCagekO1IytLPX3YEY-wuJFl3xwaIqO8BHwa1RCZAWQXA82xiWx4EQLMuGjUlQ2JzUPGSPh98D_0d8RBmo3ldZxEtV39sS5D65egY80FU/s400/2702_int.jpg" alt="" id="BLOGGER_PHOTO_ID_5344924930699579042" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR3BG7Tb48ED5B021W9B5-UETZHovl7H3t067-NXnOk1DP8mL-n2t3fWJCssOKjaAp8-6yF9bJPMmsC5MFW3b6T4RQfWXDNJDDrPnWnu_g9o8KOQyxAQ4XvooIubGkwHnJjgY9dZjPXZA/s1600-h/2699_int..jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR3BG7Tb48ED5B021W9B5-UETZHovl7H3t067-NXnOk1DP8mL-n2t3fWJCssOKjaAp8-6yF9bJPMmsC5MFW3b6T4RQfWXDNJDDrPnWnu_g9o8KOQyxAQ4XvooIubGkwHnJjgY9dZjPXZA/s400/2699_int..jpg" alt="" id="BLOGGER_PHOTO_ID_5344925852571830578" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgniEdjymRL1WckzEPMjwM2dwGCk1Mn4THpIjsK6d__YtCfap9gHiNQA6T3jMI9U3yJbMPc0auxeZA-tb6T2hG6D1iizfavGD8xvDUpCzv2DTCDM_IJDN7bDqjKX6izCEA3VDCVJxKhfSQ/s1600-h/2727_int..jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgniEdjymRL1WckzEPMjwM2dwGCk1Mn4THpIjsK6d__YtCfap9gHiNQA6T3jMI9U3yJbMPc0auxeZA-tb6T2hG6D1iizfavGD8xvDUpCzv2DTCDM_IJDN7bDqjKX6izCEA3VDCVJxKhfSQ/s400/2727_int..jpg" alt="" id="BLOGGER_PHOTO_ID_5344926084372093970" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFxSsxU-x6WT7ZGSAfAjXAEyLbhJTnbkKi_WTM9OFdIGyxN4fwIoNZXP3QmXCjLB4h5iORS0x3m4Yd3FijSWVBMedgxR-3YoX6MvQEXffioaF43zZWpQStUsuyNsHVOExi6kSltUF40Ys/s1600-h/2686_int..jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFxSsxU-x6WT7ZGSAfAjXAEyLbhJTnbkKi_WTM9OFdIGyxN4fwIoNZXP3QmXCjLB4h5iORS0x3m4Yd3FijSWVBMedgxR-3YoX6MvQEXffioaF43zZWpQStUsuyNsHVOExi6kSltUF40Ys/s400/2686_int..jpg" alt="" id="BLOGGER_PHOTO_ID_5344926483072623170" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT13jz_oc5oh_a1xX3uj1dlamodo6OF_QFLIeaoOCU29oEc1lPfeOKz0x9YTeecTDrpdnA7w-LwrxAzZwAPVUwdNiPKhjy6ChfAa2a5oHSQM9HZSeH7pu5fRsRvXGhDOxQ35-eLC8RneY/s1600-h/2684_int.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT13jz_oc5oh_a1xX3uj1dlamodo6OF_QFLIeaoOCU29oEc1lPfeOKz0x9YTeecTDrpdnA7w-LwrxAzZwAPVUwdNiPKhjy6ChfAa2a5oHSQM9HZSeH7pu5fRsRvXGhDOxQ35-eLC8RneY/s400/2684_int.jpg" alt="" id="BLOGGER_PHOTO_ID_5344926695284184450" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwgjbrV1KLgDylt0t8_qAp6O8S3DtaEqgrHWIyb3fJhCsoFf6eTxMilD5bKzJRonAZXRmagRZZXfspOaaJrDon5R-0cBpZU65OZ5p_fFD-BjhB9y7tC9VWbBUZJLsS_8ZUC5rKao01e1I/s1600-h/2734_int..jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwgjbrV1KLgDylt0t8_qAp6O8S3DtaEqgrHWIyb3fJhCsoFf6eTxMilD5bKzJRonAZXRmagRZZXfspOaaJrDon5R-0cBpZU65OZ5p_fFD-BjhB9y7tC9VWbBUZJLsS_8ZUC5rKao01e1I/s400/2734_int..jpg" alt="" id="BLOGGER_PHOTO_ID_5344923636947215010" border="0" /></a>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-55630259925660739322008-11-07T13:04:00.000-08:002008-12-19T13:20:03.481-08:00CONCEPTUAL OBSESSION – OBSESSIVE CONCEPTUALISM (2008)Is there, then, another way of thinking besides verbal constructs? What are the limits of the physical and intellectual in a concern with art? Why does the Greek word eikastikos - 'visual artist' - mean one who can shape matter and at the same time one who at the same time possesses the capability of drawing conclusions?<br />The works of the artists taking part in the 'Conceptual Obsession - Obsessive Conceptualism' deal with the ways in which manual involvement with some material by means of the use of some system of organisation of it is an extremely delicate semantic tool. Obviously, after the destructuring of the authority of art the concept of the artistic gesture can only exist as a cliché. Contemporary artists are constantly redefining their relation with the handwork texture of their work, seen through specific contexts of signification. Whether it is the case of a kind of destructuring of the medium of painting, or of the conversion of ornaments into semantically delimited depictions, or of a changing of design into an art object, artists construct and extend in this way the bounds of thought. Differing methods, such as mechanical repetition during the construction process, precision in the manner of execution, absolute emphasis on the visual nature of the result, serial reproduction, the highlighting of detail, standardisation - these constitute different versions of the elevation of a physical occupation into an intellectual act.<br />Seen from a romantic viewpoint, artists often seem like creative individuals who are governed by a vague insuperable predisposition or tendency, a constant urge to 'make' something, a kind of psychological dependence on a state of ceaseless creativity. Often this is expressed as a preoccupation, obsession, monomania - almost a kind of inner compulsion. But isn't this stance a kind of communication which attempts to be - and perhaps is - as absolute, specific, and unequivocal as language itself? These works - typical of contemporary trends in art - explore how there can be a way of thinking beyond verbal narration or the expressiveness of the work of the hands.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkBhWdtyPAN9JmHvNRv8uxL8OCbIqXI7_OQWdX0hY5GSZ-hXuFc_iOnpqfgnLEbv2ijjR2u903it-lhe05AbEFm5fszsyGoWuHkGs91v_eAqMVIVG34gzKBqE1vd2ED02kqn8ugmwPXCA/s1600-h/CO-02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 221px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkBhWdtyPAN9JmHvNRv8uxL8OCbIqXI7_OQWdX0hY5GSZ-hXuFc_iOnpqfgnLEbv2ijjR2u903it-lhe05AbEFm5fszsyGoWuHkGs91v_eAqMVIVG34gzKBqE1vd2ED02kqn8ugmwPXCA/s400/CO-02.jpg" alt="" id="BLOGGER_PHOTO_ID_5281610664478747362" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN9YAjrEvPntZeG1Bm_pS3rt9ledJ7_2dAJ7PaMOsJKcNFQAR9njYwP-SmbYX2qHGrnYHrYxKtkxRBmoAYXSTEX7rrVtmfUJh8_0zw-wWnMRgP0IHr0NMbaUQozqCWfTPM5aLYAWVEvz8/s1600-h/CO-03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN9YAjrEvPntZeG1Bm_pS3rt9ledJ7_2dAJ7PaMOsJKcNFQAR9njYwP-SmbYX2qHGrnYHrYxKtkxRBmoAYXSTEX7rrVtmfUJh8_0zw-wWnMRgP0IHr0NMbaUQozqCWfTPM5aLYAWVEvz8/s400/CO-03.jpg" alt="" id="BLOGGER_PHOTO_ID_5281610902374674722" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgapESmmUOSERIr-zlxwuNZCNP3EkzTXOKEnUIsEBxJ7JSL8DAyZtyb1sYlbHIjnNhevxijWr1mS-op288U3yJEWa0CQVVobbsvIXG1Yr1Hsk8JW6PTGTxpiDgQkU1DV5fsztPdftweyY/s1600-h/CO-04.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 221px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgapESmmUOSERIr-zlxwuNZCNP3EkzTXOKEnUIsEBxJ7JSL8DAyZtyb1sYlbHIjnNhevxijWr1mS-op288U3yJEWa0CQVVobbsvIXG1Yr1Hsk8JW6PTGTxpiDgQkU1DV5fsztPdftweyY/s400/CO-04.jpg" alt="" id="BLOGGER_PHOTO_ID_5281611098279737378" border="0" /></a>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-31422109207808267922008-08-18T15:25:00.000-07:002008-08-20T14:03:08.452-07:00WOMEN ONLY (2008)If it is a common belief that we indeed live in a post-feminist era, in which both the transcendence of discriminations imposed historically as well as ideologically on the grounds of gendered identity (interpreted as the biological difference between men and women) and the subsequent establishment of an anthropologically multiple subjectivity (the basis of which was sexual orientation) now exist, then an exhibition that that only features works by female artists and brings to mind the “all-women-shows” of the ‘70s and ‘80s would seem divisive, retro, even futile. Feminism should be, however, understood as a social reality of discourses that continue to exist –even if they are differentiated in terms of the objectives, geographies and subjects to which they refer. Obviously, a contemporary art exhibition that looks into whether there is some “essence” that forms the constructed genre “women’s art” or the population category of Greek women artists, would unquestionably be a fallacy, if it did not take into consideration the research of the political uses (in the general meaning of the term) that set in motion essentialist invocations at every historical moment, as well as the mapping of cracks to the construction of any such essence.<br />Innovative efforts of artists –mainly women– sensitized in issues of gender and artworks of feminist orientation that have acted at the same time in other fronts changing thus art's landscape in the last four decades, have started to become recognized, via curated exhibitions and scholar research. Specifically, the most interesting developments in art in this era are precisely so interesting, partly due to the movements of feminist art. The exhibition “Women Only – Female Greek Artists from the Beltsios Collection”, one of the first shows featuring the work of Greek artists from 1965 to the present, speaks on these goals.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT9x8Nrp2Kvs3pMiv70RBUWrYcpbUFbhJ-Rg_zd1UGICxaVoH0uZ19MwPzGQFsu4hyC0Uia_x-hkZUBq-PtgZU-g8cifBqiq6cqlUWn9G-InsTNJnbDZjaGNwHQb1RAhAD7giranyFkOk/s1600-h/P1010109.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT9x8Nrp2Kvs3pMiv70RBUWrYcpbUFbhJ-Rg_zd1UGICxaVoH0uZ19MwPzGQFsu4hyC0Uia_x-hkZUBq-PtgZU-g8cifBqiq6cqlUWn9G-InsTNJnbDZjaGNwHQb1RAhAD7giranyFkOk/s400/P1010109.JPG" alt="" id="BLOGGER_PHOTO_ID_5235993232770930898" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ACk1W4d0AprB3_ugEL0qlfIRlVct5K8uVjVdWKcz3sOigrWrc6XYQ2X9yNb_MerJJ_wSJAeEgvT6IgqEIS5pbnPFD5MgUBUI-X0zFEV9K4qAYehnwATnEHG7bKb2B7EMy7JNrgoLrKw/s1600-h/P1010098.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ACk1W4d0AprB3_ugEL0qlfIRlVct5K8uVjVdWKcz3sOigrWrc6XYQ2X9yNb_MerJJ_wSJAeEgvT6IgqEIS5pbnPFD5MgUBUI-X0zFEV9K4qAYehnwATnEHG7bKb2B7EMy7JNrgoLrKw/s400/P1010098.JPG" alt="" id="BLOGGER_PHOTO_ID_5235988136382508050" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJPIaP2ow-2yetJ7G_FQR1Karl5qyt3Uzpadlx6WDXG08561BLly5tPXYtoEaQziLKEv1i7O0smcb03Zy29YGAkUN2Uig4qBtqUcDGO26LzQhxzQcpQKlxOjNasrkxP4wNdjgZCKbcEck/s1600-h/P1010120.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJPIaP2ow-2yetJ7G_FQR1Karl5qyt3Uzpadlx6WDXG08561BLly5tPXYtoEaQziLKEv1i7O0smcb03Zy29YGAkUN2Uig4qBtqUcDGO26LzQhxzQcpQKlxOjNasrkxP4wNdjgZCKbcEck/s400/P1010120.JPG" alt="" id="BLOGGER_PHOTO_ID_5235991646615480818" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9P3cBta3EvX5he_JILI4NOpFbqQWzMddB9IXvXgkohey8JTPDJKOzqBwMjxYlaLQcqvNO9FuWb70b0Y1RmwO4stx1jX8c9iwxNQVAJJKrz9tJp_d4SrmnmjV9rzAK6qbeqkxBtmCz6s8/s1600-h/DSC07907.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9P3cBta3EvX5he_JILI4NOpFbqQWzMddB9IXvXgkohey8JTPDJKOzqBwMjxYlaLQcqvNO9FuWb70b0Y1RmwO4stx1jX8c9iwxNQVAJJKrz9tJp_d4SrmnmjV9rzAK6qbeqkxBtmCz6s8/s400/DSC07907.JPG" alt="" id="BLOGGER_PHOTO_ID_5235992344759092402" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqFTxilY2KHM9sO1vU4iLkYHixO0jrDqW1sq-o8YTmcQnFtjxoI8aFJwef2ULDC6JAiZqQklF_92kF1qc3UjHxC2sG9DRzHXay_9RL_3WJQiM86y0RmRrVXEYn_N44IPqAucw4XqxYvx4/s1600-h/DSC07899.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqFTxilY2KHM9sO1vU4iLkYHixO0jrDqW1sq-o8YTmcQnFtjxoI8aFJwef2ULDC6JAiZqQklF_92kF1qc3UjHxC2sG9DRzHXay_9RL_3WJQiM86y0RmRrVXEYn_N44IPqAucw4XqxYvx4/s400/DSC07899.JPG" alt="" id="BLOGGER_PHOTO_ID_5235992678567631826" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSq9iGWtpxDLwVmhkiVta5oHgLlmTgP-SVS9ahFQsmqKMWDbKO7Wp0xWu1pdSoHtmPukdwJFRSfNHqjiPT-S8wtFVsuGexz_OE54p67Mf1K7yw5x_R1Ok2DOflBAVTIW19XD2KyVYX8Bg/s1600-h/DSC07888.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSq9iGWtpxDLwVmhkiVta5oHgLlmTgP-SVS9ahFQsmqKMWDbKO7Wp0xWu1pdSoHtmPukdwJFRSfNHqjiPT-S8wtFVsuGexz_OE54p67Mf1K7yw5x_R1Ok2DOflBAVTIW19XD2KyVYX8Bg/s400/DSC07888.JPG" alt="" id="BLOGGER_PHOTO_ID_5235992989342137378" border="0" /></a>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-52491819722614992982008-02-02T10:29:00.000-08:002010-09-17T14:12:18.233-07:00MY DEAR DEER (2008)The group exhibition <a href="http://www.qbox.gr/Qbox%20English/Exhibitions/9B48855A-334D-4CD5-86AD-CE138C353FA0.html">my dear deer</a> presents works by five emerging international artists, whose work negotiates gender identity and desire. The works take a critical stance towards fixations, fetishizations and the ideological instrumentalization of «gendered» identity. These particular queer versions of lifestyle and practices of social interaction play the role of a critical gaze towards the hegemonic heteronormative discourse and the stereotypes, which tend to preclude every different articulation of gendered identity. The exhibition title functions as a playful and personal curatorial commentary on the endless search for the desirable "other", in the way in which this other is articulated in context of identity art. By highlighting next to gendered inscriptions the structural aspects of human condition, such as the vulnerable, the memory and the desire the works of the exhibition pose also a critical question about the current glorifying affirmation of identity. It is also a subtle critique of the obsessions and fetishizations of men and women who instrumentalize ideologically its gendered dimension. Queer aesthetics –however diverse they might be- consist of different versions of the erotic gaze, of the fetishizing desire, of the loss and at the same time the interventionist staging of the self in interaction with others. In this sense the visual iconography that includes, for example, a specific dress-code and style, or a specific mise-en-scene of the gaze in reference to gender identity are symptoms of the same law of desire. Nevertheless it is a subtle critique on the essence of "difference" of both nature and sensitivity of gay and lesbian desire.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii70/mrriolo/My%20Dear%20Deer/hairbytommy.jpg"><br /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-47036673964737666242007-05-31T14:18:00.000-07:002008-05-02T05:49:34.941-07:00OPEN PLAN (2007)OPEN PLAN (2007) lists artists, who have been proposed by their galleries, either as emerging, mid-career stars, or established international trendsetters. They are given the opportunity to create a unique one-person show or project, some with big pieces and installations. This generous exposition of selected art works is presented in exclusively designed exhibition spaces at level D of the Helexpo Palace. Open Plan is organised this year by independent curators Cecilia Canziani and Sotirios Bahtsetzis, who have presented artists from 29 international galleries. Art Athina has stretched the limits of the classic art fair, offering a unique combination of events that balance a commercial and curated approach.<br />The new coordinators of the 13th Art Athina redesigned the exhibition while taking into consideration: the international environment, specific local particularities, the conditions of the broader geographical region of the South Eastern Mediterranean, the extensive mobilization of many new forces, and the realization that Art Athina is an important link within these forces.The Restart initiative of Art Athina has set the following goals:<br />to set new standards in the quality and selection of a small number of high profile and innovative international galleries who support contemporary and cutting edge projects; to create an event that will act as a forum for exhibition and exchange, introducing a host of curated exhibitions, performances and talks and to assist in the production of new art projects, and to mobilize the city’s art spaces and unique locations as part of an extended platform that will heighten the experiences and senses of all attending.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Pk2lnd1_UAgTqfryDsfAKUFOdBdByJ98TiDGHAfs_v_cQnKL4vqr3V1NKQxVIm3_sKL5HXmtAYeLOpjzujt_idaLS8lcmsnvjiBIYolmSxeQ19jMgVFNVh_k_G_Vu4TS5VgkG3by1ng/s1600-h/Bloody+Bicycle.jpg"><img style="margin: 0px auto 10px; 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display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn5ctjNq__A5eAaKVCvillATt1z85Yx3hKOzg_1SUknhJ0s-Zgq0pt9HZQ_BSeZBuS9lsdDVn8FmoJ9Q8wAXfAMHBXO9DJdZfpE1fkBY1al-UY-Sl3jFGtzHIhGUCn9BvcqAsirfY22ds/s400/Smoke+Stack+Tryptic.jpg" alt="" id="BLOGGER_PHOTO_ID_5104109065938176226" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvEBZZgCpRc58G5ACTJ4K9on-RLQFkOGiQ2MiATQ2ZoSqbhBhpYHg4CGKTx0BkSQ-PeCWirAiX8YeQFi9USMTr0SUNoPE7JmZWPXSwOGy2zgoE_ONALPztI_kU59qx2k4Ls7etfan6FP0/s1600-h/Spiral+%26+White+Writing.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvEBZZgCpRc58G5ACTJ4K9on-RLQFkOGiQ2MiATQ2ZoSqbhBhpYHg4CGKTx0BkSQ-PeCWirAiX8YeQFi9USMTr0SUNoPE7JmZWPXSwOGy2zgoE_ONALPztI_kU59qx2k4Ls7etfan6FP0/s400/Spiral+%26+White+Writing.jpg" alt="" id="BLOGGER_PHOTO_ID_5104108627851512018" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZpSaJk5iiFNcGJOcyeL44-E-2plJsoR8pkGskT8wTIPD4QbTuLdWJefCNoYb-feR0y52_lMU19ld18P-bcl3HRArBFOQWGvC8jaQuu-URvuOHD21ZV8BltuMlra2QHOwWWym7dMsUW8/s1600-h/The+Boat.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRZpSaJk5iiFNcGJOcyeL44-E-2plJsoR8pkGskT8wTIPD4QbTuLdWJefCNoYb-feR0y52_lMU19ld18P-bcl3HRArBFOQWGvC8jaQuu-URvuOHD21ZV8BltuMlra2QHOwWWym7dMsUW8/s400/The+Boat.jpg" alt="" id="BLOGGER_PHOTO_ID_5104107532634851522" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1AiAyw1sS4qIjy0smOybMi8tdoBwjyg1c8-ux5vW_rE_ecSYrjJtomN5m0QlapbMSbZlVWCwBoF2nAWba9rBZUkwhmOWRQ1oZ0bXYWibwSVbKI-ywTc9VuFjSz8bngQ_Dm7_EvJJtxDU/s1600-h/Wicked+Graffiti.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1AiAyw1sS4qIjy0smOybMi8tdoBwjyg1c8-ux5vW_rE_ecSYrjJtomN5m0QlapbMSbZlVWCwBoF2nAWba9rBZUkwhmOWRQ1oZ0bXYWibwSVbKI-ywTc9VuFjSz8bngQ_Dm7_EvJJtxDU/s400/Wicked+Graffiti.jpg" alt="" id="BLOGGER_PHOTO_ID_5104107150382762162" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhji3rgocs27s4RZ0azynRpoY823k-O_gW2LpWNrOwPvgmrxF-ldnXbtAE4q28e1CrxGS5jGTlzxC8w_aFEOSN6yyfsFnNAS7NIROHFSi_wTwyhyGzK2-TvStL73nZHJHeYrsFHoiDa4oM/s1600-h/Your+Wish+Softly+Repeated.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhji3rgocs27s4RZ0azynRpoY823k-O_gW2LpWNrOwPvgmrxF-ldnXbtAE4q28e1CrxGS5jGTlzxC8w_aFEOSN6yyfsFnNAS7NIROHFSi_wTwyhyGzK2-TvStL73nZHJHeYrsFHoiDa4oM/s400/Your+Wish+Softly+Repeated.jpg" alt="" id="BLOGGER_PHOTO_ID_5104106046576167074" border="0" /></a><br /><br />All images by <a href="http://www.flickr.com/photos/stephenriolo/">Stephen Riolo</a><br /><br /><a rel="license" href="http://creativecommons.org/licenses/by-nc/3.0/"><img alt="Creative Commons License" style="border-width: 0pt;" src="http://i.creativecommons.org/l/by-nc/3.0/88x31.png" /><br /></a><br />This work is licensed under a<br /><a rel="license" href="http://creativecommons.org/licenses/by-nc/3.0/">Creative Commons Attribution-Noncommercial 3.0 License</a>.Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-63974365934557420932006-10-24T05:51:00.000-07:002008-05-02T06:06:34.872-07:00DRAWING SCREEN (2006)<span style="text-decoration: underline;"></span>Drawing should not evidently be confused with the sketch or pre-sketch for a final- autonomous work- product (sculpture, painting, architectural); it rather constitutes a particular medium of considerable autonomy in regard to others. This exhibition, presents drawing or other works on drawing –such as video- in categories, by juxtaposing symmetrical entities (screen and fold, trace and vector, letter and outline). It suggests an understanding of drawing beyond its narrative characteristics or means of representation. In doing so, it does not constitute simply a visual essay on what ultimately «drawing» is, but explores what «drawing» can offer to the way we receive reality. Particularly, an exhibition with younger artists from Greece, a local scene which focuses especially on this medium offers possibilities to critically examine its capacities.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiewsYNBf3-AXClWroQU1NOg_A_Xp9Emjur8R_e8w1XuqW4QPz6fZMNlL_byG1dldQuqmSnKJvIwVIdp0zL6NSDA7IP1QLpxWOuvwSlTaeiO-idPODa88ixAnVV6lWF5Uu8O4L8t_cppw/s1600-h/02.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiewsYNBf3-AXClWroQU1NOg_A_Xp9Emjur8R_e8w1XuqW4QPz6fZMNlL_byG1dldQuqmSnKJvIwVIdp0zL6NSDA7IP1QLpxWOuvwSlTaeiO-idPODa88ixAnVV6lWF5Uu8O4L8t_cppw/s400/02.jpg" alt="" id="BLOGGER_PHOTO_ID_5195765656786619074" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYTbM-Vi3gaS9lLm8CoQsD4L0Dkn-HbJliHy9VUO3dMUhCVpbkSyyJp6_Vx5TY_1biihQgVdrzTxlogQZ9hM2kr-Rro1Z6Bik7m39f_y4ym98Q2lBt3VQq0cwlySB4fa7ssgpNFzXhv3U/s1600-h/03.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYTbM-Vi3gaS9lLm8CoQsD4L0Dkn-HbJliHy9VUO3dMUhCVpbkSyyJp6_Vx5TY_1biihQgVdrzTxlogQZ9hM2kr-Rro1Z6Bik7m39f_y4ym98Q2lBt3VQq0cwlySB4fa7ssgpNFzXhv3U/s400/03.jpg" alt="" id="BLOGGER_PHOTO_ID_5195765579477207730" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQHc1yG3erNWgdmylsNDHLxsGhCzpmKYVFVZMPftNgtdN9yVUvYhk0nfjHWAUjU8N-GmmRNfHZHVrQ6k5NubfLJytZX_b3igPkY2E7t9NjckprmDz8dQZVbsJwxocqP_fAJDDmfiJBmpU/s1600-h/04.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQHc1yG3erNWgdmylsNDHLxsGhCzpmKYVFVZMPftNgtdN9yVUvYhk0nfjHWAUjU8N-GmmRNfHZHVrQ6k5NubfLJytZX_b3igPkY2E7t9NjckprmDz8dQZVbsJwxocqP_fAJDDmfiJBmpU/s400/04.jpg" alt="" id="BLOGGER_PHOTO_ID_5195765480692959906" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJFPZuHkXDZVz6zlT272NNvai4pnlohBLW7wFjgWnZRSYV-FrF1QCJJr7aOaXbgy9mR9caToY2QQvZwjG07bmRpsRITPS8vpqREk6P8ssLcFI34OaWip9KfMyFesp0g1_YWBVLs2PgSE/s1600-h/14.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJFPZuHkXDZVz6zlT272NNvai4pnlohBLW7wFjgWnZRSYV-FrF1QCJJr7aOaXbgy9mR9caToY2QQvZwjG07bmRpsRITPS8vpqREk6P8ssLcFI34OaWip9KfMyFesp0g1_YWBVLs2PgSE/s400/14.jpg" alt="" id="BLOGGER_PHOTO_ID_5195765381908712082" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT7WyG71Naibgb2OkAG3CcwNsg67RxR8z4K6GH74WP5lHJkFhiEct7frgPzmfap_SG4T271P2AcnbCzvYZLN0C3Z206aaiR0cPQMSte3q5FdqLApUWFHjFBalgUnOaiBixn4upMOYa7t4/s1600-h/15.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT7WyG71Naibgb2OkAG3CcwNsg67RxR8z4K6GH74WP5lHJkFhiEct7frgPzmfap_SG4T271P2AcnbCzvYZLN0C3Z206aaiR0cPQMSte3q5FdqLApUWFHjFBalgUnOaiBixn4upMOYa7t4/s400/15.jpg" alt="" id="BLOGGER_PHOTO_ID_5195765270239562370" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDZjxmz-Bf4sp_DXejdzKgJPtP_To2rjKqPyxsu9Q21I6nHi7qQ8c8xKVNKSQK_SCdmelNWbMzjIKtW5Dx1U8EtpM_zhf1mWEu89970LwQnW85eZPeKknrK_M-ZqzdSv_xxj4syznPIec/s1600-h/18.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDZjxmz-Bf4sp_DXejdzKgJPtP_To2rjKqPyxsu9Q21I6nHi7qQ8c8xKVNKSQK_SCdmelNWbMzjIKtW5Dx1U8EtpM_zhf1mWEu89970LwQnW85eZPeKknrK_M-ZqzdSv_xxj4syznPIec/s400/18.jpg" alt="" id="BLOGGER_PHOTO_ID_5195765171455314546" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMzz_5FP5lPyBFUkSSPUKSLA-B7RmjucBNApHmop8fiSXLKSmfnb-Q5zYUcXej3t9igLxPAUjLG-epKGQRL4DVwB71ZIFTtxw03tS9dv_yjo32eOdmdidoOfW-9RziTpbz4xpRe1Ir1nI/s1600-h/11.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMzz_5FP5lPyBFUkSSPUKSLA-B7RmjucBNApHmop8fiSXLKSmfnb-Q5zYUcXej3t9igLxPAUjLG-epKGQRL4DVwB71ZIFTtxw03tS9dv_yjo32eOdmdidoOfW-9RziTpbz4xpRe1Ir1nI/s400/11.jpg" alt="" id="BLOGGER_PHOTO_ID_5195765055491197538" border="0" /></a>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-17021228438262022052006-09-01T08:05:00.000-07:002008-05-02T05:50:29.286-07:00SITE (2006)The purpose of SITE exhibition (co-curated with Elpida Karaba and Anne-Laure Oberson) as the central part of the Kodra 06 Visual Arts Event was to re-examine the parameters of site-specific works through a contemporary perspective. Therefore new works and projects by emerging artists in Greece were produced (for the first time within the context of the particular event).<br />Site, whether physical, social, political or psychological, was the starting point for creating a sphere of dialogue, agreement and antagonism, between audiences, curators and artists in order to investigate what kind of subjects all parties involved are. All participating artists, whether working site-specifically or in their studio have followed the collaborative mind frame of the project. Obviously Resonances and correspondences between all the works or chains of works have been developed. Throughout the “making” of this exhibition these relations have been exposed and reflected in the final pieces. The ultimate goal was to create an exhibition that fully takes in consideration - from beginning to end - the experience and participation of the viewer, who will be asked to use, modify or even reject the final product.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtCgE3WJzEzhARg3D-TVnJMJ_Q4rJpxQ7AYzSHne7omlIQ2wgzNP2BVdJ0Zm-3WTqouV45jU_MXUEZ-dU2zkC-kMSPul1AkABNgIeXgkMFS9okWOsSMJShJ0Jl6Tg9_eUEs-nGDhcNiY4/s1600-h/post-it+window.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtCgE3WJzEzhARg3D-TVnJMJ_Q4rJpxQ7AYzSHne7omlIQ2wgzNP2BVdJ0Zm-3WTqouV45jU_MXUEZ-dU2zkC-kMSPul1AkABNgIeXgkMFS9okWOsSMJShJ0Jl6Tg9_eUEs-nGDhcNiY4/s400/post-it+window.jpg" alt="" id="BLOGGER_PHOTO_ID_5156150526467464914" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcLvd7AoKrb2io_abRkoYI63LDL5KHnEq3zqy93LDmbmgAEPdRLxkKL7CzYrfL5vBc00zk6gLludbdtE-UTKokGJZskT_f8XRVNX7SNEO2fE2V6g90VMMvvAdyxfudF9csPxzf1kA7YVo/s1600-h/plastic+room.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcLvd7AoKrb2io_abRkoYI63LDL5KHnEq3zqy93LDmbmgAEPdRLxkKL7CzYrfL5vBc00zk6gLludbdtE-UTKokGJZskT_f8XRVNX7SNEO2fE2V6g90VMMvvAdyxfudF9csPxzf1kA7YVo/s400/plastic+room.jpg" alt="" id="BLOGGER_PHOTO_ID_5156154069815484194" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKJp_RuSTd7Ik7vTjjhkhIoWvmW1p7WiFqTz4nmodHVwynKtcz33FD5fbbEkdYuCStqaB3ZZwpyFGIKE0ll3uPrqZjYFzzdclAANIQogi1l_H-NyWEa07EbuQn7leUSLSeaSxSjy7kaU/s1600-h/skateboard.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaKJp_RuSTd7Ik7vTjjhkhIoWvmW1p7WiFqTz4nmodHVwynKtcz33FD5fbbEkdYuCStqaB3ZZwpyFGIKE0ll3uPrqZjYFzzdclAANIQogi1l_H-NyWEa07EbuQn7leUSLSeaSxSjy7kaU/s400/skateboard.jpg" alt="" id="BLOGGER_PHOTO_ID_5156153056203202322" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1YOY6DApmvqmh4l3mxx_JfzWQv9dK-URJEBC-8pWegHn25Z03OMkf7KJc3EAB9S4379STlRntHsa8rbcI1VyL2fgG3GdoYpOaIZKy4dJaIkWjJdmyEpyHTafagdVaCUhbYx9xtlow5Uc/s1600-h/pinballprojection.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1YOY6DApmvqmh4l3mxx_JfzWQv9dK-URJEBC-8pWegHn25Z03OMkf7KJc3EAB9S4379STlRntHsa8rbcI1VyL2fgG3GdoYpOaIZKy4dJaIkWjJdmyEpyHTafagdVaCUhbYx9xtlow5Uc/s400/pinballprojection.jpg" alt="" id="BLOGGER_PHOTO_ID_5156151892267065074" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1oRcXvDi3SK7ZTsO9iosw5mPwkOOlYygMxwrYzWtazTyvbrbEDTZ6ycT7dey9fc_bETskXHvYjylGurbplswWziOMAKMvD_XgI7hO-j6HZvYxiN80tFV_at5_yobBIJAGsQnznz3vq9s/s1600-h/TREES.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1oRcXvDi3SK7ZTsO9iosw5mPwkOOlYygMxwrYzWtazTyvbrbEDTZ6ycT7dey9fc_bETskXHvYjylGurbplswWziOMAKMvD_XgI7hO-j6HZvYxiN80tFV_at5_yobBIJAGsQnznz3vq9s/s400/TREES.JPG" alt="" id="BLOGGER_PHOTO_ID_5156152622411505410" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieVdsAUAfz8uibt_eOvqTnThYVXQoub3SmqEaivzNfynhmZmdZJqvrF7PxRWP2PgCNQhbCLQQApjgGVuHN721-imn8B32KJnhomsVlxpyLUBQBbHv0ofBt7emlmh5qxtfdMrcVPodnqqI/s1600-h/Kotretsos.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieVdsAUAfz8uibt_eOvqTnThYVXQoub3SmqEaivzNfynhmZmdZJqvrF7PxRWP2PgCNQhbCLQQApjgGVuHN721-imn8B32KJnhomsVlxpyLUBQBbHv0ofBt7emlmh5qxtfdMrcVPodnqqI/s400/Kotretsos.jpg" alt="" id="BLOGGER_PHOTO_ID_5156151239432036066" border="0" /></a>Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-41870679692586451172006-05-28T06:27:00.000-07:002008-05-02T05:48:18.490-07:00AN OUTING (2006)The exhibition AN OUTING (2006) presents a significant group of works by younger Greek arists selected from the Beltsios Collection. The exhibition was held in an 19th century old factory in the city of Trikala in central Greece. The Beltsios Collection is an non profit organisation. Main focus of its collecting, archiving and exhibiting activity is the presentation of Modern and Contemporary art in Greece. Beltsios Collection concentrates historical works of the second half of the 20th century up to present time.<br />The exhibition AN OUTING is the outcome of the organic development of the collection, of the incessant quest and its enrichment with works by first appearing artists but also earlier ones, born between 1950 and 1980. The artists are presented in a common dynamic, yet with varied visual vocabulary and idiosyncrasies. Furthermore, they constitute new concepts and tendencies of the art produced in Greece today, by suggesting new points of vision and perspectives in artistic creation. The majority of them, if not all, have studied or have lived in minor or major artistic centers abroad and find themselves in networks of discourse and exchange with them. This is to be found in the thematic points of reference and medium specificity, which is presented in their works.<br />Aim of the exhibition was not only to present, document and support the newest production in the field of visual arts in Greece but to create specific narratives including the personal character of the given collection and the specificity of the exhibition space.<br />(<a href="http://sotiriosbahtsetzis.blogspot.com/2005/01/subjective-outings.html">texts from the exhibition catalogue</a>)<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVLdodXOm9WbGfecPec0WO5Oc0xb_8H2isD6O4o_LNBELA93cMPlSS4wD7BAyvLjNN2vbGEefA59QhnjnrQ7oGQVViajUsBuoFCvHJ6YB5uX6CLHUHwxZUchhqKkMYbValiBhJRis1u0c/s1600-h/Attic.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVLdodXOm9WbGfecPec0WO5Oc0xb_8H2isD6O4o_LNBELA93cMPlSS4wD7BAyvLjNN2vbGEefA59QhnjnrQ7oGQVViajUsBuoFCvHJ6YB5uX6CLHUHwxZUchhqKkMYbValiBhJRis1u0c/s400/Attic.jpg" alt="" id="BLOGGER_PHOTO_ID_5104186405414275538" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjveYD-WW0sDxPME6aZX2RDWAYzvk1wfAYaQjqfvOPgLa0tBvVDou42PHVDfRsb7NcqNhEwv-KFOQYtg2ZGtaPT2dXzrraNkHIVlbrYMzM3miXZGTc2_NE-kEP3PkF5sNbJNvw03FxRx3o/s1600-h/Brain+and+Man+in+Red+Shirt.jpg"><img style="margin: 0px auto 10px; 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display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqL_6h0bZxaCfOptiNAGz2rujhv2E3Huf-0NXRWmhg3qqXHJ28OfC4JSP4dhrGqj9r2ZpjxxFV8KzJt_bHczB69flLN34OZ1IXp2Uo4Ss8qjdSdZcCNXD7UuliRML8IPTS2oNA0UxVRIY/s400/Fountain+and+Stairwell.jpg" alt="" id="BLOGGER_PHOTO_ID_5104184287995398562" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG87bOfvPmNAWsAAQ4ogz_s8mQ4q8aQaM7lKoAnHuLZGTPr3ykkbZrRM-0EUaKf7f1HJ8My_f1QYv2CI2gRkIlYb2kHDgUZEyu95OuhKNA7ttagYlR4gdxoY9R_U3NHbtuqaD1P93y28w/s1600-h/Painting+of+Girl+%26+4+Legged+Man.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG87bOfvPmNAWsAAQ4ogz_s8mQ4q8aQaM7lKoAnHuLZGTPr3ykkbZrRM-0EUaKf7f1HJ8My_f1QYv2CI2gRkIlYb2kHDgUZEyu95OuhKNA7ttagYlR4gdxoY9R_U3NHbtuqaD1P93y28w/s400/Painting+of+Girl+%26+4+Legged+Man.jpg" alt="" id="BLOGGER_PHOTO_ID_5104183630865402258" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbDI_0EadZwNY99dRJ7ibE1OqDuN80zBhItFbxkKRbIpV0JzMomq4q5JsCwwI9_x1QwyLdKPJDZRq1i9dbY3nXyoqu1pYTCDzj6skVrS0LropvRCI4UTyNdRzIoaGTDof_NkyQ4Te_Xfk/s1600-h/Painting,+Gears,+tvBox.jpg"><img style="margin: 0px auto 10px; 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display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvqO_1flc06l1UJXJBTnh0iXocwDralYTZvq5nZJuS1-xXVdlgEYiJzk3ybX46q1tFPwjiUDCScH-8RbDfeHRZ-IAgZPJPlZfdAt6m6y_LVe6G_Pi11FiQSTm3O8Cm3RNiVjZrWA1lJWA/s400/Shrooms+Painting+%26+tvbox+.jpg" alt="" id="BLOGGER_PHOTO_ID_5104180658748033378" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEielO7zMeAZ86ClNZn-lj0bN1vSjkWtC85G2bxEdtXtrMtB4o50Iy3KIFCnpVl1euJ0fr2H_RALhEximq45GPI5CPINI-k6vV3-fJTBG4-PRrVJeSQ16NGDEy_OoOGuYCsQiV2cfQ2mAn8/s1600-h/Video,+Man+with+Flag,+Lacey+Table+Cloth.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEielO7zMeAZ86ClNZn-lj0bN1vSjkWtC85G2bxEdtXtrMtB4o50Iy3KIFCnpVl1euJ0fr2H_RALhEximq45GPI5CPINI-k6vV3-fJTBG4-PRrVJeSQ16NGDEy_OoOGuYCsQiV2cfQ2mAn8/s400/Video,+Man+with+Flag,+Lacey+Table+Cloth.jpg" alt="" id="BLOGGER_PHOTO_ID_5104180392460061010" border="0" /></a><br />All images by <a href="http://www.flickr.com/photos/stephenriolo/">Stephen Riolo</a><br /><br /><a rel="license" href="http://creativecommons.org/licenses/by-nc/3.0/"><img alt="Creative Commons License" style="border-width: 0pt;" src="http://i.creativecommons.org/l/by-nc/3.0/88x31.png" /><br /></a><br />This work is licensed under a<br /><a rel="license" href="http://creativecommons.org/licenses/by-nc/3.0/">Creative Commons Attribution-Noncommercial 3.0 License</a>.Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-50570961682334063032006-03-01T06:45:00.002-08:002023-11-27T06:02:10.338-08:00Curated Exhibitions<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-weight: bold;"><span>2023</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span><span><span style="color: #b45f06;">G&A Mamidakis Art Prize 2023</span><span style="color: #e69138;">,</span> exhibition at Minos Palace Agios Nikolaos Crete, 17/7-31/7/2023, organized by the G. & A. Mamidakis Foundation, featuring the site-specific installation <a href="https://gnamamidakisfoundation.org/en/ami-yamasaki-whispers-travel-and-whisper-to-you-again-2023/" target="_blank">Whispers travel and whisper to you again</a> by Ami Yamasaki, <a href="https://gnamamidakisfoundation.org/en/alexandros-laios-day-2023/" target="_blank">Day</a> by Alexandros Laios and <a href="https://gnamamidakisfoundation.org/en/maro-fasouli-nomadic-murals-2023/" target="_blank">Nomadic Murals </a>by Maro Fasouli.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-weight: bold;"><span><br /></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-weight: bold;"><span>2022</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span><span style="color: #b45f06;">G&A</span><span style="color: #b45f06;"> </span><span style="color: #b45f06;">Mamidakis Art Prize 2022</span>, exhibition at Minos Beach art hotel, Agios Nikolaos Crete, 4/7-31/10/2023 organized by the G. & A. Mamidakis Foundation, featuring the site-specific installation <a href="https://gnamamidakisfoundation.org/en/arnaoutou-king-tender-shell-geophilia-2022/" target="_blank">Tender shell geophilia</a> by Ileana Arnaoutou and Ismene King.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span><b><br /><span></span></b><span style="color: #cc6600; font-weight: 400;">Going Viral </span><span style="font-weight: 400;">group </span></span>exhibition at STEINZEIT Galerie in Berlin Friedrichshain-Kreuzberg, 20.1.2022 - 3.3.2022, with the participation of the following artitst: Ileana Arnaoutou, Sofia Dona, Maro Fasouli, Kyriaki Goni, Anestis Ioannou , Andreas Ragnar Kassapis, Panos Kompis, Latent Community (Ioanian Bisai & Sotiris Tsiganos), Maria Louizou, Collectif MASI (Madlen Anipsitaki & Simon Riedler), Irini Miga, Stefania Strouza, Maria Tsagkari, Ersi Varveri, Co-curated with Katja Ehrhardt, with the support of <a href="https://www.snf.org/en/grants/grantees/a/athensyn-gug/festival/" target="_blank">Stavros Niarchos Foundation</a>, <a href="https://www.art-works.gr/en/about/" target="_blank">Artworks</a> and <a href="http://www.schwarzfoundation.com/en/schwarz-foundation/about-en/about.html" target="_blank">Schwarz Foundation</a>.</div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-weight: bold;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-weight: bold;">2019</span><br />
<span style="font-weight: bold;"></span><span style="color: #cc6600;">Homemade Exotica </span>group exhibition at <a href="http://www.freiraum-berlin.org/">FREIRAUM in der Box </a>in Berlin Friedrichshain-Kreuzberg, 14.11.2019-1.2.2020, with the participation of following artists: Dionisis Christofilogiannis, George Drivas, Alexandros Kaklamanos, Dionisis Kavallieratos, Georgia Kotretsos, James Lane, Yorgos Maraziotis, Georgia Sagri, Yorgos Stamkopoulos, Joulia Strauss, Vassileia Stylianidou, Yiannis Theodoropoulos, Stefanos Tsivopoulos, Dimitris Tzamouranis, Zafos Xagoraris, Theodoros Zafeiropoulos, organized by <a href="http://www.athensyn.com/" target="_blank">AthenSYN</a> (founded and co-directed by Katja Ehrhardt), with the support of <a href="https://www.snf.org/en/grants/grantees/a/athensyn-gug/festival/" target="_blank">Stavros Niarchos Foundation</a> and <a href="http://www.schwarzfoundation.com/en/schwarz-foundation/about-en/about.html" target="_blank">Schwarz Foundation</a>.<br />
<br /><span style="color: #cc6600;"><span style="color: #b45f06;">G&A </span>Mamidakis Art Prize 2019, </span>exhibition at Minos Beach art hotel, Agios Nikolaos Crete, 14.7-20.10.2018, organized by the <a href="http://www.gnamamidakisfoundation.org/home">G. & A. Mamidakis Foundation</a>, featuring the site-specific installation <a href="https://www.gnamamidakisfoundation.org/come-with-the-wind-theodoros-zafeiropoulos-yorgos-rimenidis/">Come with the Wind</a> by Theodoros Zafeiropoulos and Yorgos Rimenidis in the context of the <a href="http://www.bluefest.gr/">blueFest Crete 2019</a>.<br />
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<span style="font-weight: bold;"><span style="color: #cc6600; font-weight: 400;">Blue Nights </span><span style="font-weight: 400;">exhibition a at Minos Beach art hotel, Agios Nikolaos Crete, 14.7-20.10.2018, organized by the </span><a href="http://www.gnamamidakisfoundation.org/home" style="font-weight: 400;">G. & A. Mamidakis Foundation</a><span style="font-weight: 400;">, featuring video works by </span></span>Theodoros Zafeiropoulos, Alexandros Kaklamanos and James Lane in the context of the <a href="http://www.bluefest.gr/">blueFest Crete 2019</a>.<br />
<span style="font-weight: bold;"><span style="font-weight: 400;"><br /></span></span>
<span style="font-weight: bold;">2018</span><br />
<span style="color: #cc6600;">Art on Blue </span>exhibition at Minos Beach art hotel, Agios Nikolaos Crete, 1.7-20.10.2018, organized by the <a href="http://www.gnamamidakisfoundation.org/home">G. & Mamidakis Foundation</a>, featuring the site-specific installation <a href="https://www.gnamamidakisfoundation.org/4-cents-on-show-for-500-years-georgia-kotretsos/">4 Cents: On Show for 500 Years </a>by Georgia Kotretsos in the context of the blueFest Crete 2018.<br />
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<span style="font-weight: bold;">2017</span><br />
<span style="color: #cc6600; font-weight: normal;">Universitas </span><span style="font-weight: normal;">group exhibition at Trii Art Hub, Athens, 7.4-7.5.2017 with the participation of following artists: Vilelmini Vilma Andrioti, Gudrun Barenbrock, Sebastian Bayse Schäfer, Manaf Halbouni, Thomas Kilpper, Georgia Kotretsos, Joulia Strauss, DimitrisTzamouranis, Dionisis Christofilogiannis and LiwaaYazji. The exhibition was organized by <a href="http://www.athensyn.com/" target="_blank">AthenSYN</a> and <a href="http://avtonomi-akadimia.net/" target="_blank">Avtonomi Akadimia</a>, in </span>collaboration with <a href="https://athensbiennale.org/en/" target="_blank">Athens Biennial</a>.<br />
<span style="font-weight: bold;"><br /></span> <span style="font-weight: bold;">2015</span><br />
<span style="font-weight: bold;"><span style="color: #cc6600; font-weight: normal;">Goethe’s Dream </span><span style="font-weight: normal;">curation of a large-scale project by the <a href="http://www.artecitya.gr/">ARTECITYA AGENCY</a> at the Goethe Institute Thessaloniki. It includes three works – commissions to artists Giorgos Gyparakis, Alexandros Psychoulis and Theodoros Zafeiropoulos. Launch of the project in 23.11.2015.</span></span><br />
<span style="font-weight: bold;"><span style="color: #cc6600; font-weight: normal;"><br /></span></span> <span style="font-weight: bold;"><span style="color: #cc6600; font-weight: normal;">Beauty is the Method </span><span style="font-weight: normal;">group exhibition at the ACG Gallery - </span><a href="http://www.acg.edu/" style="font-weight: normal;">American College of Greece</a><span style="font-weight: normal;">. Athens, 13-30.4.2015 with the participation of the following artists: </span></span>Nikos Alexiou, Athanasios Argianas, Dimitris Baboulis, Dionisis Christophilogiannis, Chryssa, Vasso Gavaisse, Vassilis Gerodimos, Nick Ervinck, Dimitris Foutris, Chris Gianakos, Zoe Keramea, Kornelios Grammenos, Rowena Hughes, Hope, James Lane, Hiroshi MacDonald Mori, Giorgos Maraziotis, Eleanna Martinou, Dimitris Merantzas, Michael Michaeledes, Nina Papaconstantinou, Nikos Papadopoulos, Aemilia Papaphilippou, Joulia Strauss, Stefania Strouza, Thanassis Totsikas, Kostis Velonis.<br />
<span style="font-weight: bold;"><br /></span> <span style="font-weight: bold;">2014</span><br />
<span style="color: #cc6600;">SelfConscious </span>group exhibition at the ACG Gallery - <a href="http://www.acg.edu/">American College of Greece</a>. Athens, 7-28.3.2014 with the participation of the following artists: Bill Balaskas, Dionisis Christofilogiannis, Christos Delidimos, George Drivas, Giorgos Gyparakis, Effie Halivopoulou in collaboration with Tim Ward, Elias Kafouros, Georgia Kotretsos, Maria Kriara, James Lane, Jenny Marketou, Panos Mattheou, Caroline May, Jennifer Nelson in collaboration with Theodoros Papatheodorou, Eftihis Patsourakis, Vassiliea Stylianidou, and Thodoris Zafeiropoulos.<br />
<span style="font-weight: bold;"><br /></span> <span style="font-weight: bold;">2011</span><br />
<span style="color: #cc6600;">Roaming Images Routes. <span style="color: #cc6600;"><a href="http://www.thessalonikibiennale.gr/paraprog_en.html">BIENNALE: 3 of Thessaloniki</a> </span></span>group exhibition at the Macedonian Museum of Contemporary Art. Thessaloniki, 18.9.-18.12.2011 with the participation of the following artists: Ebtisam Abdulaziz, Khalil Abdulwahid, Haig Aivazian, Ammar Mohammed Al Attar, Tarek Al Ghoussein, Maisoon Al Saleh, Ziad Antar, Klitsa Antoniou, Mouna Atassi, Marwa & Mirene Arsanios, Amna Badawy, Salma Badawy, Rabia Buchari, Wissam Charaf, Scandar Copti, Sherif El-Azma, Rami Farah, Ala Farhat, Zlatan Filippovic, George Haddad, Raya Haddad, Raafat Hatab, Fahed Halabi, Eman Hamdy, Ayla Hibri, Mahmoud Hojeij, George Katodrytis, Dalia Khamissy, Rola Khayyat, Van Leo, Rania Matar, Tim Kennedy, Fassih Keiso, Hassan Meer, Roy Samaha, Mark Pilkington, Wael Shawky, Zena Takieddine, Tanya Trabulsi, Elias Zayat.<br />
<span style="font-weight: bold;"><br /></span> <span style="color: #cc6600;">Mapping the art scene in Sharjah and the UAE </span>group exhibition at the <a href="http://www.alqasba.ae/">Maraya Art Centre</a>, 22.6 - 6.8.2011, Sharjah, UAE, with the participation of the following artists: Ahmed Al Hamdi, Ammar Mohammed Al Attar, Ebtisam Abdulaziz, George Katodrytis, Khalil Abdulwahid, Maisson Al Saleh, Mark Pilkington, Noor Al Suwaidi, Paolomaria, Tarek Al Ghoussein, Tim Kennedy, Tini Meyer, Zlatan Filipovic.<br />
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<span style="color: #cc6600;"><a href="http://www.palazzo.ch/Kunsthalle/archiv/11_2/aktuell_m.html">Modulating Politics - Joulia Strauss</a>, </span>exh. at the <a href="http://www.palazzo.ch/Indexnets4_0.htm">Kunsthalle Palazzo Liestal</a>, 6.5 - 26.6.2011, Basel<br />
<span style="color: #cc6600;"><br />Intake - Theodoros Zafeiropoulos</span>, exh. at the Hellenic American Union, 10.1.-5.2.2011, Athens<span style="font-weight: bold;"></span><br />
<span style="font-weight: bold;"><br />2010</span><br />
<span style="color: #cc6600;">Symtomatic Greece -Art and Politics after Crisis</span>, group exhibition during the <a href="http://eeas.europa.eu/delegations/russia/press_corner/all_news/news/2010/20100823_01_en.htm">Second Session of the International Action "Slowar: The Dictionary of War (Moscow), 2.9.-3.9.2010</a>, with the participation of the following artists: Marina Gioti, Into the Pill, Yiannis Isidorou, Joulia Strauss, Moritz Mattern, Vasiliea Stylianidou, Moscow<br />
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<a href="http://www.kunsthalleathena.org/">Kunsthalle Athena</a> – The Bar, group exhibition at the Kunsthalle Athena, 14.5.-16.7.2010, co-curated with Marina Fokidis with the participation of the following artists: Aids-3D, Alexandros Georgiou, Alexandros Mistriotis, Amateur Boyz, Andreas Angelidakis, Angelo Plessas, Annika Larsson, Christina Dimitriadis, Dimitra Vamiali, Forte, Gert & Uwe Tobias, Helga Wretman, Heracles Renieris, Jenny Marketou, Joulia Strauss, Juliette Bonneviot, Kostas Tsioukas, Lydia Dambassina, Manolis Baboussis, Marc Bijl, Mathieu Laurette, Olaf Nicolai, Panos Koutras, Pantelis Pantelopoulos, Paul Zografakis, Penelope Georgiou, Heinrich Spaeth, Rafael Rozendaal, Robert Pettena, Socratis Socratous, Warren Neidich, Ylva Ogland, Yorgos Sapountzis, Yorgos Stamkopoulos<br />
<a href="http://www.kunsthalleathena.org/">www.kunsthalleathena.org</a><br />
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<span style="font-weight: bold;">2009</span><br />
<span style="color: #cc6600;">Paint-id: Contemporary Painting in Greece</span>, group exhibition at the <a href="http://www.mmca.org.gr/mmst/el/index.htm">Macedonian Museum of Contemporary Art</a>, Thessaloniki, 24.5.-31.7.2009, within the framework of the <a href="http://www.thessalonikibiennale.gr/">BIENNALE: 2 of Thessaloniki</a>, with the participation of the following artists: Emi Avora, Athanasios Argianas, Vassilis Vassilakakis, Vangelis Gokas, Christos Delidimos, Eirene Efstathiou, Vassilis Zografos, Nikos Kanarelis, Vassilis Karouk, Konstantinos Ladianos, Panagiotis Loukas, Sotiris Panousakis,Nikos Papadimitriou, Ilias Papailiakis, Eftihis Patsourakis, Maria Polizoidou, Vassilis Salpistis, Dimitris Tzamouranis, Alexandros Tzannis, Kostas Tsolis, Mantalina Psoma, (exh. cat.)<span style="font-weight: bold;"><br /></span><span style="color: #cc6600;">Alexandros Papathanasiou</span>, in: Rooms 2009. A Contemporary Art Show, (curators invite young artits), organized by Kappatos Gallery Athens in St. George Lycabetus (exh. cat.)<span style="font-weight: bold;"><br /><br />2008</span><span style="color: #cc6600;"><br />Conceptual Obsession – Obsessive Conceptualism,</span> group exhibition at the <a href="http://www.tintgallery.gr/">TinT Gallery</a>, 1.11-29.11.2008, with the participation of the following artists: Nikos Alexiou, Dora Economou, Vaso Gavaisse, Dimitris Ioannou, Apostolos Karastergiou, Pavlos Nikolakopoulos, Nikos Papadimitriou, Nina Papakonstantinou, Eftihis Patsourakis, Eleftheria Roussou, Thanassis Totsikas (exh. cat.)<br />
<br />
<span style="color: #cc6600;">Women Only,</span> group exhibition, organized by the Margaris Foundation & <a href="http://beltsioscollection.gr/">Beltsios Collection</a>, 19.7-17.8.2008, at the Margaris Gallery Amphilochia with the participation of the following artists: Chariklia Hari, Christina Calbari, Christina Dimitriadis, Chrysa Romanos, Dora Economou, Eleni Kamma, Georgia Sagri, Katerina Diakomi, Leda Papaconstantinou, Lina Theodorou, Loukia Alavanou, Lynda Benglis, Maria Papadimitriou, Maria Zervou, Mariana Ignataki, Mary Zigouri, Nina Papaconstantinou, Rania Emmanouilidou (exh. cat.)<span style="font-weight: bold;"><br /></span><span style="color: #cc6600;">my dear deer</span>, group exhibition at the <a href="http://www.qbox.gr/Qbox%20English/Now.html">Qbox Gallery</a>, 2.2.-15.3.2008, with the participation of the following artists: Endre Aalrust, <a href="http://www.susannewinterling.de/">Susanne Winterling</a>, Tobias Zielony, <a href="http://www.slavamogutin.com/">Slava Mogutin</a>, <a href="http://www.myspace.com/hairwerk">Hairwerk</a><span style="font-weight: bold;"><br /><br />2007</span><span class="wikiexternallink"><br /></span><span style="color: #cc6600;">Open Plan 2007</span> group exhibition in the <a href="http://www.artbox.gr/art-athina-2007.html">13th Art Athina</a>, co-curated with Cecilia Canziani (31/5-3/6/2007), with the participation of the following artists: <a href="http://www.xagoraris.net/">Zafos Xagoraris</a>, Waheeda Malullah, Alice Guareschi, Pius Portmann, Stephen Antonakos, Vangelis Gogas, Manuela Viera Gallo, Nikos Alexiou, Harris Palas, Christina Dimitriadis, Vasilliea Stylianidou, <a href="http://www.jorgepardosculpture.com/">Jorge Pardo</a>, Panos Tsagaris, Tilmann Kaiser, <a href="http://www.poka-yio.com/">Poka-Yio</a>, Blue Noses, Babis Venetopoulos, Caroline Achaintre, Hernan Marina, Adam Avikainen, Amie Dickie, John Kleckner, Pavlos Nikolakopoulos, DeAnna Maganias, Hüseyin Alptekin, Amal Kenawy, Ana Laura Alaéz, Jacob Dahl Jürgensen, Lyudmila Gorlova, <a href="http://www.kostisvelonis.blogspot.com/">Kostis Velonis</a> (exh.cat.).<br />
<div class="paragraph">
<br />
<span style="font-weight: bold;">2006</span><br />
<span style="color: #cc6600;">Drawing Screen</span>, group exhibition at the TinT gallery and <a href="http://www.cinemuseum.gr/">Thessaloniki Museum of Cinematography</a>, 24.10-25.11.2006, with the participation of the following artists: Eleni Athanasopoulou, Loukia Alavanou, <a href="http://www.nikosalexiou.com/">Nikos Alexiou</a>, Eva Vretzaki, Vangelis Gokas, Katerina Diakomi, Haris Epaminonda, Mary Zygouri, Eleni Theofylaktou, <a href="http://www.elenikamma.com/">Eleni Kamma</a>, Vassilis Karouk, Andreas Kassapis, Thanos Klonaris, Maria Konti, Georgia Kotretsos, Katerina Manolessou, Evangelia Basdekis, Margarita Bofiliou, Pavlos Nikolakopoulos, Dora Economou, Aliki Panagiotopoulou, Stavroula Papadaki, <a href="http://nikospapadimitriou.com/">Nikos Papadimitriou</a>, Nikos Papadopoulos, Nina Papaconstantinou, Lila Polenaki, Rania Rangou, Ioannis Savvidis, Vassilis Salpistis, Fani Sofologi, Diamantis Sotiropoulos, Dimitris Foutris, Katerina Christidi. (exh. cat.)</div>
<div class="paragraph">
<br />
<span style="color: #cc6600;">SITE.ProTasis</span>, <a href="http://www.artbox.gr/Kodra.htm">Action Field Kodra</a> 2006, 6th Festival of Visual Arts, Kalamaria, Thesaloniki, 01-17 September 2006, group exhibition, co-curated with Elpida Karaba & Anne-Laure Oberson, with the participation of the following artists: <a href="http://www.nikosarvanitis.com/">Nikos Arvanitis</a>, Nayia Yiakoumaki, Mary Zygouri, Kostas Ioannidis, Dimitris Ioannou, Apostolos Karastergiou, Maria Konti, Georgia Kotretsos, Makis Kyriakopoulos, Miltos Michailidis, Pavlos Nikolakopoulos, Haris Pallas, Eftihis Patsourakis, Antonis Pittas, Kostis Stafylakis, Vassileia Stylianidou, Anna Tsouloufi, Urania Fasoulidou (exh. cat.)</div>
<div class="paragraph">
<br />
<span class="wikiexternallink" style="color: #cc6600;"><a href="http://www.beltsioscollection.gr/beltsioscollection/outing.htm">An Outing. Beltios Collection. Contemporary Art in Greece in the 21st Century</a></span>, group exhibition organized be the Beltios Collection and the Municipality of Trikala, with the participation of the following artists: Loukia Alavanou, Manty Albani, Nikos Albanis, Nikos Alexiou, Thanassis Apostolou, Christos Athanasiadis, Costas Avgoulis, Alexis Avlamis, Evangelia Basdekis, Vicky Betsiou, Christina Calbari, Nikos Charalambidis, Savvas Christodoulides, Despina Christou, Katerina Diakomi, Stavros Diakoumis, Christina Dimitriadis, Dora Economou, Rania Emmanouilidou, Haris Epaminonda, Panayiotis Famelis, Dimitris Foutris, Maurice Ganis, Apostolos Georgiou, Vangelis Gokas, Yiorgos Gyparakis, Dimitris Ioannou, Eleni Kamma, Nikos Kanarelis, Thanos Klonaris, Georgia Kotretsos, Konstantinos Ladianos, Dimitra Lazaridou, Leonidas Liambeys, Panayiotis Loukas, Eleni Lyra, D Anna Maganias, Anna Maneta, Miltos Manetas, Nikos Markou, Alexandros Mistriotis, Christina Mintrese, Pavlos Nikolakopoulos, Apostolos Palavrakis, Haris Pallas, Ralou Panagiotou, Christodoulos Panagiotou, Maria Papadimitriou, Nikos Papadimitriou, Nikos Papadopoulos, Eftihis Patsourakis, Leda Patta, Angelo Plessas, Poka-Yio, Vassilis Polichronakis, Mantalina Psoma, Alexandros Psychoulis, Rania Rangou, Georgia Sagri, Yiorgos Sapountzis, Litsa Sepyrgioti, Yiannis Skaltsas, Fani Sofologi, Kostis Stafylakis, Stergios Stamos, Vassiliea Stylianidou, Yiannis Theodoropoulos, <a href="http://linatheodorou.com/">Lina Theodorou</a>, Thanassis Totsikas, Nikos Triantaphyllou, Alexandros Tsantilas, Stefanos Tsivopolulos, Dimitris Tzamouranis, Dimitra Vamiali, Vassilis Vassilakakis, Kostis Velonis, Babis Venetopoulos (exh. cat.)</div>
<div class="paragraph">
<br />
<span class="wikiexternallink" style="color: #cc6600;"><a href="http://www.artnews.info/artist.php?i=228">Kai Schiemenz</a></span>, in:Visions 06. A Contemporary Art Show, (30 curators invite 30 artits), organized by Kappatos Gallery Athens in Athens Imperial, Grecotel City Hotels (exh. cat.)</div>
<div class="paragraph">
<br />
<span style="font-weight: bold;">2005</span><br />
<span class="wikiexternallink" style="color: #cc6600;"><a href="http://www.hansopdebeeck.com/">Hans Op de Beeck</a></span> / SKALL, in: Visions 05. A Contemporary Art Show, (30 curators invite 30 artits), organized by Kappatos Gallery Athens in Athens Imperial and Makedonia Palace, Grecotel City Hotels (exh. cat.)</div>
<div class="paragraph">
<br />
<span style="font-weight: bold;">2003</span><br />
<span style="color: #cc6600;">A-Topia- Elective Relations</span>, co-curated with Elpida Karaba, group exhibition in the Goethe Institute Athens, with the participation of the following artists: Miltos Michailidis, Constantinos Papadoukas, <span class="wikiexternallink"><a href="http://www.karinrosenberg.de/">Karin Rosenberg</a></span>, Richard Schütz, <span class="wikiexternallink"><a href="http://www.veronikawitte.de/index.html">Veronika Witte</a></span> and Nayia Yiakoumaki</div>
<div class="paragraph">
<br /></div>
<div class="paragraph">
<span style="font-weight: bold;">2002</span><br />
<span class="wikiexternallink" style="color: #cc6600;"><a href="http://www.kunstgeschichteportal.de/kunst_in/staedteuebersicht/berlin_24.php">Familistère I</a></span>, Group Exhibition in the <a href="http://www.kw-berlin.de/english/set_index.htm">KW Berlin Institute of Contemporary Art</a>, with the participation of the following artists: Dimitris Gizinos, Ioannis Savidis, <span class="wikiexternallink"><a href="http://www.artnews.info/vassilieastylianidou/">Vassiliea Stylianidou</a></span>, Evanthia Tsantila and Dimitris Tzamouranis. (exh. cat.);<br />
<span style="color: black;">Brigitte Waldach: Sighting red - frames, at the Theater am Halleschen Ufer, Berlin,</span><br />
<span style="color: black;">Jeremy Wood: The map of hope and other improbable locations, installation at Theater am Halleschen Ufer, Berlin</span></div>
<div class="paragraph">
<br />
<span style="font-weight: bold;">2001</span><br />
<span class="wikiexternallink" style="color: black;"><a href="http://www.baulab.org/lundgren.htm">Stefan Lundgren</a></span><span style="color: black;">: peneloop, Installation at the Old Bewag Factory Berlin, with a Saxophone-Performance by Henrik Frisk ;</span><br />
<span style="color: black;">Brigitte Waldach: Images III. Art Measures or Guggenheim is everywhere, at the Studiogalerie/ Haus am Lützowplatz (exh. cat.)</span></div>
<div class="paragraph">
<br />
<span style="font-weight: bold;">2000</span><br />
<span style="color: black;">Zohar Schlesinger & Thrafia Daniylopoulos: The House, at the Studiogalerie/ Haus am Lützowplatz (exh. cat.);</span><br />
<span style="color: black;">Christiane Klappert: home entertainment- my life with the tropes, at the Studiogalerie/ Haus am Lützowplatz (exh. cat.);</span><br />
<span style="color: black;">Nicola Oxley und Nicolas de Oliveira: Vanishing Point, at the Studiogalerie/ Haus am Lützowplatz (exh. cat.);</span><br />
<span style="color: black;">Jeremy Wood: Scintilla-small fictions, at the Studiogalerie/ Haus am Lützowplatz (exh. cat.)</span></div>
<div class="paragraph">
<br />
<span style="font-weight: bold;">1999</span><br />
<span style="color: black;">Ruudi Beier: Four Components – A Picture. 47m over the sea;</span><br />
<span class="wikiexternallink" style="color: black;"><a href="http://www.ifa.de/a/a2/da2alflu.htm">Besnik und Flutura Haxhillari</a></span><span style="color: black;">: Espace fragil/ The black and white wedding of Gullivers;</span><br />
<span style="color: black;">Franca Sferlazza: Il mio paradiso, A retrospective;</span><br />
<span style="color: black;">The troubles of Jean-Luc Picard, literature project with Robert L. Sanatanas;</span><br />
<span style="color: black;">Ingrid Schütz: The end of innocence – What happened during the summer?</span><br />
<span style="color: black;">Francesco Zotti-Chiais: Il sonno di Dioniso nella casa del mondo</span>, Installation in Klosterruine in cooperation with Podewil;<br />
<span style="color: black;">Rupert Schumacher: Perpetuated Landscape</span>;<br />
Giuliano Guatta: Playtime;<br />
Karola Schlegelmilch: The Moving Gaze;<br />
Christian Rothmann: ...you and me?<br />
<br />
<br />
<span style="font-weight: bold;">1998</span><br />
13 x Photography in empty rooms, Group show with Jürgen Baumann, Amin El Dib, Wolfgang Faller, Sofia Galanou, Nigel Green, Sven Grüß, Matthias Harder, Reinhard Kühl, Sebastian Kusenberg, Jens Liebchen, Catrin Otto, Christian Rothmann und Nelly Tragusti;<br />
Karin Rosenberg: Pas de deux;<br />
Literature project with Andreas Sinakowski;<br />
Sofia Galanou: That was it!<br />
Sabine Nolden: Paradise Apples;<br />
<span class="wikiexternallink"><a href="http://www.berlinischegalerie.de/index.php?id=163&L=1">Catrin Otto</a></span>: Full House (exh. cat.);<br />
The Adventures of Theresa Lükenwerk;<br />
Frater Markus Arnold OSB: Cloister works – Object boxes</div>
<div class="paragraph">
<br />
<span style="font-weight: bold;">1997</span><br />
Francesco Chiais: The sleeping Dionysus;<br />
Kathrin Schiffbauer: Alpraum;<br />
Markus Wirthmann: Aquaristik;<br />
<span class="wikiexternallink">Malraux` Museé Imaginaire Box Project</span>, group show in cooperation with the Museum of Installation (MOI) London, additional artists & curators: Sotirios Bahtsetzis, Ruudi Beier, Wolfgang Faller, Sofia Galanou, Lilly Grote, Matthias Harder, Juwelia, Catrin Otto, Markus Wirthmann;<br />
Literature project NomadenHeft, presentation by Mark Giannori und Robert L. Sanatanas;<br />
David Wilkinson: The Eternal Return;<br />
Thrafia Daniylopoulos, i.T. (Simple Fonts) New Humility</div>
</div>
Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.comtag:blogger.com,1999:blog-7711849900249602215.post-547450213536857452006-02-01T05:52:00.047-08:002023-12-02T09:52:56.921-08:00Publications, Lectures, Workshops<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="paragraph"><span><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><div class="paragraph"><span><div class="paragraph" style="font-weight: bold;"><div class="paragraph"><br /><b><a href="https://eap.academia.edu/SotiriosBahtsetzis">https://eap.academia.edu/SotiriosBahtsetzis</a></b><div><br /></div></div></div></span><span style="font-weight: bold;"></span></div><div class="paragraph"><span style="font-weight: bold;">Academic articles in refereed journals, conference contributions, and scholarly book chapters</span><br /><br /><div class="p1"><div class="p1"><ul style="text-align: left;"><li>"Image Acts and Displays: A Semiotic-Phenomenological Approach of Visibility", Proceedings of the <a href="https://semiotics2023.gr/" target="_blank">XII International Conference on Semiotics</a>, Semiotics Across and In-Between, 28-30/10/2023, Panteion University Athens (pending).</li><li>"The Chronotopia of Installation Art and the Contribution of Media Phenomenology to its Interpretation" [Ο χρονότοπος της εγκατάστασης τέχνης και η συμβολή της διαμεσικής φαινομενολογίας στην ερμηνεία της] Proceedings of the 7th Symposium of Greek Art Historians Society, 31/3– 2/4/2023, National Gallery of Greece (pending).</li><li>"Performance in art installation as situated knowledge [Η επιτέλεση στην εικαστική εγκατάσταση ως τοποθετημένη γνώση]" στο Ζαφειρόπουλος, Θεόδωρος (επιμ.), <i>Εδώ! Τόπος – Τοπίο – Χώρος – Χρόνος</i>, Αθήνα, Εκδόσεις Τζιόλα, 2023, σελ. 226-243.</li><li>"Deleuze’s Meta-Cinematic Framing: Multimodal Meaning-making in Installation Art", <a href="https://punctum.gr/" target="_blank"><i>Punctum. International Journal of Semiotics</i></a>, Narrativity & Multimodal Communication in the Age of New Media 8:2 (2022): 11-31.</li><li>"Exhibiting the Posthuman: A Dispositive Analysis of the Postmodern Public" Session 5, What Does Media Arts Complexity Wants? <a href="http://www.ciha.org/node/28" target="_blank">35th CIHA World Congress,</a> Motion: Migrations São Paulo, January 17-21, 2022, Instituto Goethe de São Paulo, Brazil, Proceeding of the 35th World Congress of Art History, <a href="http://www.ciha.org/sites/default/files/files/Session%205.pdf" target="_blank">Session 5, What Does Media Arts Complexity Wants?</a>, ed. Claudia Mattos Avolese (2023), p. 517-532.</li><li>"<a href="https://www.pismowidok.org/en/archive/2019/25-present-history/semiocapitalism-spectacle-eikonomia-and-the-function-of-art">Semiocapitalism, Spectacle, Eikonomia, and the Function of Art</a>", <i>Widok: View. Theories and Practices of Visual Culture</i>, Nr. 25 (2020): 1-28.</li><li>"Branding images: The anthropotechnics of digital gaming culture" in <i><a href="https://www.cambridgescholars.com/semiotics-and-visual-communication-iii">Semiotics and Visual Communication III: Cultures of Branding</a></i>, Edited by Evripides Zantides, Cambridge: Cambridge Scholars Publishing, 2019, p. 361-376.</li><li>"Image Phenomenology: The Case of Heinrich Wölfflin" ["Η Φαινομενολογία της εικόνας: Η περίπτωση του Heinrich Wölfflin] in Istoria tis Technis. Zitimata Istorias, Methodologias, Istoriografias, Edited by Areti Adamopoulou, Lia Gyioka, Konstantinos Stefanis, Athens: Gutenberg, 2019, p. 45-61.</li><li>"Piet Mondrian and the American Painters of the 1960s: Space and Spectator" [Ο Piet Mondrian και οι αμερικάνοι ζωγράφοι της δεκαετίας του 1960: ο χώρος και ο θεατής] <a href="https://istoriatechnisinfo.wordpress.com/category/%ce%b1%cf%81%cf%87%ce%b5%ce%b9%ce%bf-%cf%84%ce%b5%cf%85%cf%87%cf%89%ce%bd/%cf%84%ce%b5%cf%85%cf%87%ce%bf%cf%83-8/%cf%80%ce%b5%cf%81%ce%b9%ce%b5%cf%87%ce%bf%ce%bc%ce%b5%ce%bd%ce%b1-8/"><i>Istoria Tis Technis</i>, v. 8 </a>(Summer 2019): 51-81.</li><li>"Documenta 14 Review", <i>Istoria tis Technis</i>, v. 7 (Summer 2018): 208-219.</li><li>"Künstlerische Utopien und politisch Dystopien des Mittelmeers: Zur kulturpolitischen Konstruktion Griechenlands", <i>Kritische Berichte</i>, 4. 2017: 18-25.</li><li>"Dia-phanous. Medium Phenomenology in Marcel Duchamp's The Large Glass" [Δια-φανές: η φαινομενολογία του μέσου στο Μεγάλο Γυαλί του Μαρσέλ Ντυσάν], <i>Αληthεια Journal of Psychoanalysis, Philosophy and Art,</i> v. 9 (Summer 2017), p. 205-221.</li><li>"From Logocular Anthropotechnics to Posthuman Dispositives: Toward a Manifesto of the Postdiscursive Era", <a href="http://www.documenta14.de/en/south/901_from_logocular_anthropotechnics_to_posthuman_dispositives_toward_a_manifesto_of_the_postdiscursive_era"><i>South as a State of Mind # 8, Documenta 14 # 3</i>,</a> 2016, 199-222.</li><li>"The Diaphanous Image: Medium Phenomenology in the Visual Arts" [Η δια-φαίνουσα εικόνα. Η φαινομενολογία του μέσου στην ερμηνεία εικαστικών έργων] <i>Synchrona Themata</i>, Vol. 132-133. Jan-June 2016, 35-45.</li><li>“<a href="http://www.e-flux.com/journal/57/60411/democrisis-notes-on-the-capitalist-imaginary-of-europe/">Democrisis: Notes on the Capitalist Imaginary of Europe</a>” <i>E-Flux Journal</i>, Vol. 57 (09/2014).</li><li>"Platonic Postmodernism. The Politics of Mimesis and Construction" [Πλατωνικός Υπερμοντερνισμός. Οι πολιτικές της Μίμησης και της Κατασκευής], <a href="http://www.synchronathemata.gr/"><i>Synchrona Themata</i>,</a> Vol. 125. April-June 2014: 23-32.</li><li>"<a href="http://www.amazon.de/Erz%C3%A4hlen-Wissen-Narrative-Strategien-zeitgen%C3%B6ssischen/dp/3869844493/ref=sr_1_1?ie=UTF8&qid=1399837753&sr=8-1&keywords=melanie+franke">Tactics of Narration or How to Do Words with Things</a>", Franke, Melanie, Ebeling, Knut (ed.),<i> Erzählen und Wissen: Narrative Strategien in der zeitgenössischen Kunst</i>, Nuremberg: Verlag für moderne Kunst, 2013, p. 237-249.</li><li>"Deleuzian Meta-Cinematic Images in Kabakov’s Total Installation", Taban, Carla (ed), <i><a href="http://upers.kuleuven.be/en/book/9789058679574">Meta- and Inter-Images in Contemporary Visual Art and Culture</a></i>, Leuven: Leuven University Press, 2013, p. 169-188.</li><li>"Erotic Topology: Gender Dispositivs and Image in Duchamp's The Large Glass" [Ερωτική τοπολογία: Έμφυλη διάταξη και εικόνα στο Μεγάλο Γυαλί του Μαρσέλ Ντυσάν], <i>Αληthεια Journal of Psychoanalysis, Philosophy and Art,</i> v. 7 (Spring 2012), p. 251-263.</li><li>"Kittler und die Kunst" (with Joulia Strauss) <a href="http://www.aesthetikundkommunikation.de/?heft=158"><i>Ästhetik und Kommunikation</i>, Vol. 158</a>, Year 43. (Fall 2012), p. 181-182.</li><li>"<a href="http://www.e-flux.com/journal/eikonomia-notes-on-economy-and-the-labor-of-art/">Eikonomia: Notes on Economy and the Labor of Art</a>," in: <i>E-flux Journal</i>, Vol. 35 (5/2012), reprint in: <i><a href="http://pavilionjournal.org/current.html">Pavilion #16 Tactics for the Here and Now</a></i> | special issue on Bucharest Biennale 5.</li><li>"Autonomy, Crisis and Oikonomia: Remarks on Art and Capital" in: <i><a href="http://inaesthetics.org/index.php/main/serial">Inaesthetics</a> 3</i> (ed. by Wilfried Dickhoff & Marcus Steinweg), Berlin: Merve, 2012.</li><li> "Installation als meta-kinematographisches Dispositiv" in: Frohne, Ursula; Haberer Lilian (eds.), <a href="http://kinoaesthetik.uni-koeln.de/index.php?lang=e"><i>Kinematographische Räume in Film und Kunst</i></a>, Munich: Fink, 2012, p. 18-39.</li><li>"<a href="http://e-flux.com/journal/view/271">The Time That Remains: How to Repeat the Avant-Garde</a>" in: <i>E-flux Journal</i>, Vol. 30 (12/2011).</li><li>"<a href="http://www.e-flux.com/journal/view/256">The Time That Remains: On Contemporary Nihilism</a>" in: <i>E-flux Journal</i>, Vol. 28, (10/2011).</li><li>"<a href="http://www.vsw.org/issues/afterimage-vol-38-no-1/">Image Wars: The Athens Riots as Dispositif and Event</a>" in: <i>Afterimage The Journal of Media Arts and Cultural Criticism</i>, Vol. 38, No 1 (2010), pp. 19-24.</li><li>"Death and Image. A psychoanalytic approach based on the work of Francis Bacon" [Θάνατος και εικόνα. Μια ψυχαναλυτική προσέγγιση με αφορμή το έργο του Φράνσις Μπέικον], <i><a href="http://genesis.ee.auth.gr/dimakis/Enteykt/Enteyktirio.html">Entefktirio</a></i>, 86 (July-September) 2009, pp. 75-80</li><li>"Castles from Glass: The critique of modernist architecture of the mid-wars period in the work of Kurt Schwitters" [Γυάλινα Κάστρα: Η κριτική της πρωτοποριακής αρχιτεκτονικής του μεσοπολέμου στο έργο του Kurt Schwitters], Conference "Architect Hans Poelzig and German Expressionism" <a href="http://www.kam-arsenali.gr/Default.asp?lang=en">Center for Mediterranean Architecture</a>, 14.3.2009</li></ul></div></div><br /><a href="http://b-blok.blogspot.com/2008/05/kamusal-alan-guncel-sanat.html"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5235974020662579474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglQM-YoCrQ_Ut7ItfaTKoFUbi2R4B-SMVk6HwHtQpTTNyUJ-drDuBfyTdUS8VC4dZMjX1cHN6BZmf0QusDLA0nTXpDHQ1RCFvV11FES2hhF8-JEs19oigRLHPr0L_EeyiYcMYBbJs9QMA/s200/BOOKCOVER_SINGLE_crop1-2.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><br /><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><ul style="text-align: left;"><li>"Testing the Public. New Public Art in Greece", in: Tan, Pelin, Boynik, Sezgin (eds.),<i> <a href="http://b-blok.blogspot.com/2008/05/kamusal-alan-guncel-sanat.html">Kamusal alan-Guncel sanat</a></i>, texts by: Ali Akay, Sotirios Bahtsetzis, Claire Bishop, Sezgin Boynik, Rosalyn Deutsche, Mika Hannula, Hou Hanru, Erden Kosova, Sven Lütticken, Jacques Ranciere, Gerald Raunig, Simon Sheikh, Pelin Tan, Sven-Olov Wallenstein, Istanbul, Santralistanbul, 2008, ISBN 978-605-399-018-5</li><li>"The Art Production of Women Graduates at ASFA and the Woman-Art Theme" [<a href="http://www.asfa.gr/greek/activities/site_skaltsas/pages/periexomena.html">Η εικαστική παραγωγή γυναικών αποφοίτων της ΑΣΚΤ σε σχέση με ζητήματα της προβληματικής "γυναίκα-τέχνη</a>] Symposium "Women Graduates at Athens School of Fine Arts 1980-2004", Athens School of Fine Arts, 9.11.2007</li><li>"On the Cinematic Conditions of Installation Art. Notes on hermeneutics of the Visual" [Οι κινηματογραφικές συνθήκες της εγκατάστασης τέχνης. Σχόλια για μια ερμηνευτική της θέασης] Aristotle University of Thessaloniki, 3rd Greek Art History Conference, 2-4.11.2007</li><li>"From modern Art Exhibition to Contemporary Installation: The Identity of the Artist in Transition" [Από την έκθεση μοντέρνας τέχνης στη σύγχρονη εγκατάσταση: η καλλιτεχνική ιδιότητα σε μετάβαση] Athens School of Fine Arts, 2rd Greek Art History Conference, 25-27.11.2005 <span class="wikiexternallink"><a href="http://www.library.asfa.gr/gr/announcements/23_11_2005.shtml">2. Art History Conference in Greece</a></span></li><li>"<span class="wikiexternallink"><a href="http://www.toutfait.com/duchamp.jsp?postid=4418&keyword=">Étant donnés“: zwischen der Skopisierung des Begehrens und der Feminisierung des Bildraumes</a></span> [Given: between Scopizing Desire and Feminizing the Image Space]", In: <i><a href="http://toutfait.com/">Tout-Fait</a>: Marcel Duchamp Studies Online Journal</i> (2005)</li><li>"The Real of the unrealized" [Το Πραγματικό του απραγματοποίητου], in: </li><li>"Von Blinden, Leuchttürmen und Wahrheitsfrauen. Marcel Duchamps Étant Donnés. Über Wahrnehmung und Repräsentation am Beginn der Postmoderne" (On blind men, lighthouses and women of truth. Marcel Duchamp`s Given, a study on perception and representation in the beginning of postmodernism), in: <span class="wikiexternallink"><a href="http://www.tectum-verlag.de/8340TEXT.HTM"><i>Essays in Kulturanthropologischen Studien</i>, menschen formen (ed.)</a></span>, Marburg: Tectum, 2002.</li></ul></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><span><b>Research Coordination</b></span></div><div dir="ltr" trbidi="on"><br /><ul style="text-align: left;"><li>Editor (as member of the <span class="wikiexternallink"><a href="http://readinggroup.xwiki.com/xwiki/bin/view/Main/WebHome">Reading Group</a></span>) GAP Greek Art Projects, Nr. 3, July-August (2005)</li><li>Research Coordinator at: Oliveira, Nicolas de, Oxley, Nicola, Petry, Michael, <span class="wikiexternallink" style="font-style: italic;"><a href="http://www.thamesandhudsonusa.com/new/fall03/523808.htm">Installation Art in the New Millennium. The Empire of the Senses</a></span>, Foreword by Jonathan Crary, London: Thames and Hudson, 2003, ISBN 0-500-23808-1, 317 illustrations, p. 208.</li></ul><div class="paragraph"><br /></div><div class="paragraph"><a href="http://www.thamesandhudsonusa.com/new/fall03/523808.htm"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5236219764887637202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcREFjkvzt4p_iwjxe_iky1el6jBdk0LC5TvchHLz4fEQiWzBHXqTBjA1J-fTZvSC-0HUPG-l9DNdiYEl7fta9Mv8KxWdmZ-Xu3IyKny2x4e2YtQBgGyw5Dp-QLCCxZAPjF1zN08Rl0Q/s200/cover+installation.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><br /><br /><br /><br /><br /></div></div><br /><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span><br /></span></b></div><div dir="ltr" trbidi="on"><b><span>Editor of exhibition catalogs</span><span style="font-style: italic;"> </span></b></div><div dir="ltr" trbidi="on"><b><span style="font-style: italic;"><br /></span></b></div><div dir="ltr" trbidi="on"><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL_OIxQDdjgHfgU6qGPHzaOhdRMnjtBzah1KYM_M_98AMbn6NhsnK1v2FPsqWpZBEwuN7qDOYL2M4Ro7D-U_zMgNQiDaOunS8jIA7-VDHnFd-T6mdiaP2JEIcf-gVZylvDNbFVFRvmozs/s1600/IMG_2750.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1291" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL_OIxQDdjgHfgU6qGPHzaOhdRMnjtBzah1KYM_M_98AMbn6NhsnK1v2FPsqWpZBEwuN7qDOYL2M4Ro7D-U_zMgNQiDaOunS8jIA7-VDHnFd-T6mdiaP2JEIcf-gVZylvDNbFVFRvmozs/w186-h231/IMG_2750.JPG" width="186" /></a></div><br /><ul style="text-align: left;"><li><i>Going Viral</i>, exh. cat. Galerie Steinzeit, Berlin 20.1.2022 - 3.3.2022, Athens: futura Publications, 2022 (text by Sotirios Bahtsetzis and Katja Ehrhard).</li><li><i>Homemade Exotica</i>, exh. cat. Freiraum in der Box, Berlin 14.11.2019-1.2.2020, Athens: futura Publications, 2019 (text by Sotirios Bahtsetzis)</li><li><i>Beauty is the Method</i>, exh. cat. Deree-The American College of Greece, Athens: 2016 (text by Sotirios Bahtsetzis)</li><li><i>SelfConscious</i>, exh. cat. Deree-The American College of Greece, Athens: 2015 (text by Sotirios Bahtsetzis)</li><li><i>Night of the World - Yorgos Maraziotis</i>, ed. by Yorgos Maraziotis, Gent: MER. Paper Kunsthalle, 2015 (text by Sotirios Bahtsetzis)</li><li><i>Modulating Politics - Joulia Strauss</i>, (co-edit with Joulia Strauss), Berlin: Verlag Spreeathen, 2011 (texts by Sotirios Bahtsetzis, Peter Berz, Johanna Di Blasi, Luca Di Blasi, Tania Hron, Georgia Kotretsos, Wolf-Moritz Mattern, Ana Texeira Pinto, Isabell Schrickel, Marcus Steinweg, Joulia Strauss and David Woodard).</li><li><a href="http://www.artbookhouse.com/kunst/stylianidou-vassiliea-the-plotless-room-i-lie-to-history.html"><span style="font-style: italic;">The Plotless Room_I Lie to History</span></a>, ed. by Vassiliea Stylianidou and Sotirios Bahtsetzis, Berlin: Revolver, Athens: futura, 2010 (texts by Sotirios Bahtsetzis, Annette Bitsch, Bernd Ternes, Phoebe Gianissi and Vassiliea Stylianidou).</li><li><span style="font-style: italic;">Paint-id. Contemporary Painting in Greece</span>, exh. organized by the Macedonian Museum of Contemporary Art, Thessaloniki, Athens: Futura, 2009 (texts by Sotirios Bahtsetzis and Denys Zacharopoulos).</li></ul></div><div dir="ltr" trbidi="on"><div class="separator" style="clear: both; text-align: center;"></div></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><br /><div class="paragraph"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe6E9yubG-I737dQqqTluc5AJRxhxzZbUINZWArKXOeVu4Sl1W5stm3Dmn1maQOerKWm12ni_wjeLr0ysV6H2eoknadkjsWXheG6VpUVnJICElEZVNS7ykGD-rSRiacrQcq4Plr6_0c74/s1600/women1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="267" data-original-width="403" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe6E9yubG-I737dQqqTluc5AJRxhxzZbUINZWArKXOeVu4Sl1W5stm3Dmn1maQOerKWm12ni_wjeLr0ysV6H2eoknadkjsWXheG6VpUVnJICElEZVNS7ykGD-rSRiacrQcq4Plr6_0c74/s200/women1.jpg" width="200" /></a></div><br /></div><div class="paragraph"><br /><br /><br /><br /><br /><br /><br /><br /></div><div class="paragraph"><br /></div><div class="paragraph"><ul style="text-align: left;"><li><span style="font-style: italic;">Women Only</span>, exh. organized by Margaris Foundation and Beltsios Collection, Amphilochia, Athens: Futura, 2008 (texts by Athena Athanasiou, Sotirios Bahtsetzis and Angela Dimitrakakis).</li><li><span style="font-style: italic;">Exercising idiorrythmy: on the occasion of Vangelis Vlahos and Zafos Xagoraris’ participation in the 27th Sao Paulo Biennial</span>, ed. by The Reading Group (S. Bahtsetzis, E. Karampa, P. Kosmadaki, Ch. Marinos, K. Stafylakis, M. Albany), Hellenic Ministry of Culture, Athens: Futura, 2007</li><li><span style="font-style: italic;">Drawing Screen</span>, exh. organized by TinT gallery and Thessaloniki Cinema Museum, Athens: Futura, 2006 (text by Sotirios Bahtsetzis).</li></ul></div><div class="paragraph"><br /></div><div class="paragraph"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhef1NcXA4JjQwqmy_ZoBwBsJmTgNdk_ppcEH40ClsjRRIjGkwDuhOo4mkzWwusy3dMtldFgHP_EMy0Vytyiqa1kKH5LoWmm2Q_fmyDG_tOP4F9yLxLOv18ejG-l_DOLm8BTwTSwC9uju4/s1600/beltsios_stin-exochi.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="302" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhef1NcXA4JjQwqmy_ZoBwBsJmTgNdk_ppcEH40ClsjRRIjGkwDuhOo4mkzWwusy3dMtldFgHP_EMy0Vytyiqa1kKH5LoWmm2Q_fmyDG_tOP4F9yLxLOv18ejG-l_DOLm8BTwTSwC9uju4/s200/beltsios_stin-exochi.jpg" width="141" /></a></div><br /></div><div class="paragraph"><br /><br /><br /><br /><br /><br /><br /><br /><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><br /></div><div class="paragraph"><ul style="text-align: left;"><li><span style="font-style: italic;">An Outing. Beltios Collection. Contemporary Art in Greece in the 21st Century</span>, Matsopoulos Centre, exh. 27.5-30.7.2006 organized by the Beltios Collection and the Municipality of Trikala, Athens Futura, 2006 (text by Sotirios Bahtsetzis).</li><li> <i>Familistère 1</i>, Exh. Cat. KW Institute for Contemporary Art Berlin, 12 Oct – 10 Nov. 2002, Berlin, ISBN 3-00-010316-3, pp. 4-7; (text "Familistère – Container – Subject Machines / Familistère – Container – Subjektivationsmaschine, by Sotirios Bahtsetzis).</li></ul></div><br /><div class="paragraph"><b><span>Articles in </span><span>exhibition catalogs and art magazines (selection)</span></b></div><div class="paragraph"><span><br /></span></div><div class="paragraph"><ul style="text-align: left;"><li>Bahtsetzis, Sotirios and Max Spielmann, "Doing Care", in <i><a href="https://issuu.com/hyperwerk/docs/diplompublikation18_19_red" target="_blank">Verbinde die Punkte Doing Care</a></i>, Hyperwerk Institut for Postindustrial Design, Basel: FHNW, 2019.</li><li>Bahtsetzis, Sotirios, "The Anarchy of Performance", edited by Lehnert, Christina <span style="mso-spacerun: yes;"> </span>and Philippe Pirotte , <a href="http://www.sternberg-press.com/index.php?pageId=1846&l=en&bookId=740&sort=year">GEORGIASAGRI GEORGIA SAGRI and I</a>, Exh. Cat. Kunstverein Braunschweig, December 2017–February 2018, and Portikus, Frankfurt am Main, April–June 2018, Berlin: Sternberg Press, 2018, p. 35-43.</li><li>Bahtsetzis, Sotirios, "Rethinking Work and Socially Engaged Practices: Artecitya Agency" in: Artecitya. 9 Approaches to Urban Challenges, Neja Tomsic, Katja Pahor (eds.), Ljubljana: MoTA Editions, 2019, p. 96-99.</li><li>Bahtsetzis, Sotirios, "Academia: A story about troubadours, castratos, and singing mice", <i>Krytyka Polityczna</i>, Athens: Futura Publications, 2017, p. 226-230.</li><li>Bahtsetzis, Sotirios and Max Spielmamm, "Postindustrial Design – eine Standortbestimmung",<i>Y<a href="https://issuu.com/hyperwerk/docs/jahrespublikation_digital">earbook 2016 Hyperwerk</a></i>, Institute for Postindustrial Design, Basel: FHNW, 2016, 12-95.</li><li>Bahtsetzis, Sotirios, "Image Wars: For a Radical Redistribution of Semiopower", Szakacs, Eszter (ed.), <i>Quest of Query: The Menace of the Obvious</i>, Budapest: tranzit.hu, 2014, p. 56-63.</li><li>Bahtsetzis, Sotirios, Mimesis, Mimicry, and the Taming of the Gaze: On Painting's Potential to Influence Reality" (Mimesis, Mimikry und Blickzähmung. Über die Wirklichkeitsmacht der Malerei), in:<i> <a href="http://www.amazon.com/Dimitris-Tzamouranis-Sotirios-Bahtsetzis/dp/377573502X">Dimitris Tzamouranis. Melancholia</a>,</i> exh. cat. Galerie Miro, Prague, Kunsthalle Dominikanerkirche, Osnabrück, Museum Frissiras, Athens, ed. by Galerie Michael Hass, Berlin, Ostfildern: Hatje Cantz, 2012, p. 5-15.</li><li>Bahtsetzis, Sotirios, "<a href="http://southasastateofmind.com/south-remembers-behind-southern-looking-glass-sotirios-bahtsetzis/">Behind the (Southern) Looking Glass</a>", South as a State of Mind, issue. 1 (Summer 2012)</li><li>Bahtsetzis, Sotirios, "Intake - A Comentary / A Report", in: Theodoros Zafeiropoulos: <i>Intake</i> exh. cat. Hellenic American Union, Athens 2011, p. 14 -19 and 21 - 87</li><li>Bahtsetzis, Sotirios, "Poets Machine - Commentary in the Name of a Machine", <i>Making Words</i>, exh. cat., Venice Biennial 2009 pp. 49-51</li><li>Bahtsetzis Sotirios, Riolo, Stephen, <a href="http://www.amazon.com/Urban-Art-Works-Reinking-Collection/dp/3775725032/ref=sr_1_1?s=books&ie=UTF8&qid=1359998712&sr=1-1&keywords=bahtsetzis+riolo"><span style="font-style: italic;">Urban Art: Creating Public in the Time of Consensus</span>,</a> in: Clauß, Ingo (ed.), Urban Art. Works from the Reinking Collection, exh. cat. Weserburg Museum für Moderne Kunst, Ostfildern: Hatje Cantz, 2009, p. 174-185.</li><li>Bahtsetzis, Sotirios, "An Archeology of Memory", in: <i>Clement Page Works 2004-2009</i>, Berlin: Kuckei+Kuckei, 2009, p. 69-76.</li><li>Bahtsetzis, Sotirios, "Gender Abuse - or, what it is to be queer" (with texts by Bruce LaBruce, Tim Stüttgen, Susanne M. Winterling, and Jorgen Callesen), in: <i><a href="http://www.bootsart.com/html/bootsbootprint.html">Boot Print Volume 2, Issue 2</a></i>, pp. 23-25 (2009)</li><li>Bahtsetzis, Sotirios, "The fragmentary experience of supermodernity", in: <i>George Drivas (un-) documented</i>, exh. cat. National Museum of Contemporary Art, Athens, Athens, 2009, pp. 35-39.</li><li>Bahtsetzis, Sotirios, "Re-Inventing the Dispositif", in: Nikitovic, Anna (ed.), <i>Stefanos Tsivopoulos. The Real The Story The Storyteller</i>, exh. cat. Salon of the Museum of Contemporary Art Belgrade, Belgrade: Publikum, 2008, pp. 103-110.</li><li>Bahtsetzis, Sotirios, "Interventionist and Public-responsive Art in Greece", <i><a href="http://www.resartworld.com/">RES</a></i>, No 2, pp. 84-93 (2008)</li><li>Georgia Kotretsos in interview with Dana Turkovic, Jan Vam Woensel, Elpida Karaba, Cecilia Canziani, Sotirios Bahtsetzis and Abdellah Karroum , in: Kotretsos, Georgia, "Every Unemployed Curators Is Not an Independent Curator" (2007), in: <i><a href="http://www.bootsart.com/html/BP1_2download.html">Boot Print Volume 1, Issue 2</a></i>, pp. 15-20 (2007)</li><li>Bahtsetzis, Sotirios, "Longing for Images - A Political Act", in: <i><span class="wikiexternallink"><a href="http://www.vfmk.de/go/vmkn/%28$76sOqXAVFUeaGK9_7O4OvA$%29/s,showModuleObject,9_q1klWYtB,cxW0_xm1dtqZgVG,4Fa0jtW3hxW2nB,8xa0nVX0_JH,nRXYoxF1m_a2uAb1jRW28Rr1uwVYpRr04ZnNtI8NpUD,nB,9VG,hxGZplWZnxC1mxGZpNG2nxmY6RXZbxa1dVq1jIq0jhq1joq0ixqZmFG1c_WZ.xhtml">Dimitris Tzamouranis Painting</a></span></i>, ed. by Kunstverein Buchholz, Nordheide, Verlag für moderne Kunst,Nürnberg, 2006, ISBN 9783938821947, pp. 86-92</li><li>Bahtsetzis, Sotirios, "The Archaeology of democratic antagonism", in: <i>Archeology of Today? </i>exh. cat. The Kosova Art Gallery, 22.05-05.06.2006, Prishtina 2006, pp.14-20</li><li>Bahtsetzis, Sotirios, Elpida Karmpa, Anne-Laure Oberson, "Thesis", in: <i>Action Field Kodra 06 </i>- 6th visual arts festival, exh. organized by Cultural Municipality of Kalamaria, Kalamaria Thessaloniki, 2006</li><li>Karamba, Elpida (ed.), Curating: Views on curating, 9+1 unrealized projects, (Καραμπά, Ελπίδα (επ.), <i>Curating»: Απόψεις για την επιμελητική δράση, 9+1 α-πραγματοποίητα πρότζεκτ</i>) (GAP Files #1), Athens: <span class="wikiexternallink"><a href="http://www.futura.gr/">Futura</a></span> 2005, pp. 93-106</li><li>Bahtsetzis, Sotirios, "Relational Desire: the ‘Real’ Symptom. A Lacanian Treatment on Spectatorship", In: <i><a href="http://archive.balticmill.com/index.php?itemid=30294&fromtermid=11009&position=2&numresults=3&start=&tab">FeedBack 0-1. Ideas that inform, construct and concern the production of exhibitions and events</a></i>, (in association with Whitechapel Art Gallery and Goldsmiths University of London) March 2003 – March 2004, pp. 40-43.</li><li>Bahtsetzis, Sotirios, "Avant-Gardes, A-topias and Visions" (Avantgarden, A-topien und Visionen), In: <i>‘far near centre’. 12 Positions in Contemporary Greek Art</i>, Exh. Cat. European Patent Office, Munich, 23 June – 3 Sept. 2004, Munich 2004, ISBN 3-89605-066-4, pp. 16-33</li><li>Bahtsetzis, Sotirios, "The World as Photo-Synthesis" (Die Welt als Foto-Synthese), in: <i>Goldrausch 11</i>, Catrin Otto, Einschnitte, ed. Anne Marie Freybourg & Annette Thomas (Goldrausch Women Artists Project), Exh. Cat., Nürnberg, Düsseldorf, Lüneburg, Berlin, Berlin 2000, ISBN 3-933700-69-8, pp. 10-18</li></ul><!--[if gte mso 9]><xml>
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</xml><![endif]--></div><div class="paragraph" style="font-weight: bold;"><div class="paragraph"><br /></div></div></div></span></div><div class="paragraph"><br /></div><div class="paragraph"><span style="font-weight: bold;">Public lectures, Panel Coordination & Workshops</span><br />
<div class="paragraph"><br /></div><div class="paragraph"><u>30/11/2023:</u> "Image, Exhibition, and Constructing the Public", Semiotics Laboratory-SemioLab of the Aristotle University of Thessaloniki (GR).</div><div class="paragraph"><u>29/9/2023:</u> lecture "Image Acts and Viewers: A Phenomenological Approach of Visibility", <a href="https://semiotics2023.gr/" target="_blank">XIII International Conference on Semiotics</a>, Semiotics Across and In-Between, Panteion University, 28-30/9/2023, Athens (GR)</div><div class="paragraph"><u>23/9/2023:</u> lecture "Transhumanism and Critical Posthumanism: Two Scenarios for the Future of Man", International Forum of Performance Art (IFPA5): The Posthumanisms and the Metaverses Condition, organized by <a href="https://www.facebook.com/emphasis.artcentre/" target="_blank">Emphasis Art Centre</a>, <a href="https://www.almakalma.net/" target="_blank">Alma Kalma Research Laboratorium</a> and And <a href="https://www.dramafilmfestival.gr/en/" target="_blank">Drama International Short Film Festival</a> (DISFF), Drama (GR).</div><div class="paragraph"><br /></div><div class="paragraph"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Aw12Mw_6SdWexV4ID_7vOvDQboan94K-KaJmTIJm-syBYJKl7ve0kVboES25DIKbl6mIIR4jUKDJfKAZGjKW5-GRB7GtL5ci6-4vFXCXLVo7M45fS4M91Q8P7yaFyHQs1F1WT-nGsH7PmJHeSsHgNw-cKxZwqC10hLws8wil9fnz5Xk_bk28y5Sq/s2048/IMG_1416-2048x1536.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Aw12Mw_6SdWexV4ID_7vOvDQboan94K-KaJmTIJm-syBYJKl7ve0kVboES25DIKbl6mIIR4jUKDJfKAZGjKW5-GRB7GtL5ci6-4vFXCXLVo7M45fS4M91Q8P7yaFyHQs1F1WT-nGsH7PmJHeSsHgNw-cKxZwqC10hLws8wil9fnz5Xk_bk28y5Sq/s320/IMG_1416-2048x1536.jpeg" width="320" /></a></div><u><br /></u></div><div class="paragraph"><u>24/5/2023: </u>lecture for the first public presentation of the works of the "PIETRO BELLASI COLLECTION AND KATERINA PAPAGERGIOU BELLASI" donated to the University of Thessaly, Volos (GR).</div><div class="paragraph"><u>18-20/5/2023</u>: Key Note Lecture "Earthly Desires and Futures", <a href="https://osofficer.wixsite.com/osworkshop" target="_blank">17th Organization Studies Workshop</a>, Utopias and dystopias: Organization studies in a brave new world? Athens, Greece (GR)</div><div class="paragraph"><u>31/3– 2/4/2023:</u> Lecture “The Chronotopia of Installation Art and the Contribution of Media Phenomenology to its Elucidation”, 7th Symposium of Greek Art Historians Society, National Gallery of Greece, Athens (GR)</div><div class="paragraph"><u>10-13/11/2022</u>: Lecture "Reconsidering Téchnē: Ancient Greek Media Studies and Contemporary Artistic Research - Contribution to Allochthon Panel", <a href="https://terra.hauniv.edu/" target="_blank">1st Terra (in) Cognita International Conference</a>: Dialogues between Greek Culture and Modern American Art, Hellenic American University, Athens (GR).</div><div class="paragraph"><u>16-18/9/2022:</u> Panel Coordination of the <a href="https://www.ifpa.gr/?lang=en&fbclid=IwAR2rkmWAEG6kvPCOa4edFSWnAc75YSUgx_gIhz2OINusPOYCp_D67OiY7g8" target="_blank">4th International Forum of Performance Art (IFPA)</a>: (Re)Approach Now, organized by <a href="https://www.facebook.com/emphasis.artcentre/" target="_blank">Emphasis Art Centre</a> and <a href="https://www.almakalma.net/" target="_blank">Alma Kalma Research Laboratorium</a>, Drama (GR).</div><div class="paragraph"><u>1&2/4/2022:</u> Lecture "The Political Chronotopia of Installation Art", Conference "Performance: Theoretical Approaches and Practical Applications", University of Patras (GR)</div><div class="paragraph"><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaOHGcak9sJbLbkfjXRyOHlD_Jysm0y2zvrCuA9qtDAHEKvvkubkJH8ECNzd-9exYmiFkzfub9c2ed5iYNCihKw_hmWHa_tu5Ii1YLSp4N2mqxLPZ_oFBificjXwXsxFFm8t4Rtrjv-NE/s2016/IMG_4316.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2016" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaOHGcak9sJbLbkfjXRyOHlD_Jysm0y2zvrCuA9qtDAHEKvvkubkJH8ECNzd-9exYmiFkzfub9c2ed5iYNCihKw_hmWHa_tu5Ii1YLSp4N2mqxLPZ_oFBificjXwXsxFFm8t4Rtrjv-NE/s320/IMG_4316.JPG" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_WZHOR1naskTtJjXUOdYQ4oke7D7Xcc8GRsN-9DS9rdRE-lX1rIrWiXRS2Eu76QHVyJIgyo4u-w7Of3TWoXCsK1i-ZxpEVYPeGUwz93ugugO4ZReKq_AbeJvPU8b8eLpCd61ecKQmhM/s4032/IMG_9354.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_WZHOR1naskTtJjXUOdYQ4oke7D7Xcc8GRsN-9DS9rdRE-lX1rIrWiXRS2Eu76QHVyJIgyo4u-w7Of3TWoXCsK1i-ZxpEVYPeGUwz93ugugO4ZReKq_AbeJvPU8b8eLpCd61ecKQmhM/s320/IMG_9354.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckCW8HxC5lwy9OQOHYJI8gKcrTH2hlih0C0uXaD7aj0PYsptWq6hSHFeNeLo8es1UaS_ySJS5vyYYw0Fs7LH-34H4CIQAJcEV9jq2zY4VjVZ_TRsEB5KtcuOBGcFKcbJwjS6xCs8aI2k/s4032/IMG_9360.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjckCW8HxC5lwy9OQOHYJI8gKcrTH2hlih0C0uXaD7aj0PYsptWq6hSHFeNeLo8es1UaS_ySJS5vyYYw0Fs7LH-34H4CIQAJcEV9jq2zY4VjVZ_TRsEB5KtcuOBGcFKcbJwjS6xCs8aI2k/s320/IMG_9360.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="paragraph"><u>15/10/2021:</u> Lecture "Kittler and the Arts" during the festival <a href="https://www.berlinerfestspiele.de/en/berliner-festspiele/programm/the-sun-machine-is-coming-down/start.html" target="_blank">The Sun Machine Is Coming Down</a>, Art at the International Congress Centre (ICC) in Berlin, organized by the Berliner Festspiele.</div><div class="paragraph"><br /></div><div class="paragraph"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi1jZ48B9zXF4hqihx983t0eQwPqQoiVgthi7Lodw8VZoVGbOisfwYIHU5S2q3hWCsb8uaTQbwSIYrHAzkSfAmYZM8fMB2K16_ji4AED4kM9i91I0_P6kG1wy0ISfeU_A-Nm1-RO0lNH4qZTeZMrHv6Dcs-oMzoMkgsUVcIrqGlCdYI03ODa8fW8UyY" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1312" data-original-width="1930" height="218" src="https://blogger.googleusercontent.com/img/a/AVvXsEi1jZ48B9zXF4hqihx983t0eQwPqQoiVgthi7Lodw8VZoVGbOisfwYIHU5S2q3hWCsb8uaTQbwSIYrHAzkSfAmYZM8fMB2K16_ji4AED4kM9i91I0_P6kG1wy0ISfeU_A-Nm1-RO0lNH4qZTeZMrHv6Dcs-oMzoMkgsUVcIrqGlCdYI03ODa8fW8UyY" width="320" /></a></div><br /></div><div class="paragraph"><div class="paragraph"><u>27-29/9/2021:</u> <a href="https://www.thetelossociety.com/about-1-1" target="_blank">CARVING THE NEGATIVE</a> Workshop I, ΚΟΙΝΩΝΩ, Τhe Tinos Gathering, Tinos Island, Greece, Organized by The Telos Society, Curator: Sotirios Bahtsetzis</div></div><div class="paragraph"><br /></div><div class="paragraph"><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3td6t-YQR62UO3_h6eJIHeW6tWUnAWvdiYnn8tQHEIrcF2FjVSO1Jww19gf0aHxZNhotaoW-iBdDxJFHPhsmD5ypojIALgDhbUygDQ9d2GLyk3kN1VVMon9PGHdPlevfrL6qHmiE1fA/s1387/1234.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="1387" height="148" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc3td6t-YQR62UO3_h6eJIHeW6tWUnAWvdiYnn8tQHEIrcF2FjVSO1Jww19gf0aHxZNhotaoW-iBdDxJFHPhsmD5ypojIALgDhbUygDQ9d2GLyk3kN1VVMon9PGHdPlevfrL6qHmiE1fA/s320/1234.jpeg" width="320" /></a></div><u><br /></u></div><div class="paragraph"><u>29/9/2021:</u> Lecture “Universitas - A Case Study: How Artists learn from Migration” during the Symposium "<a href="https://www.diathens.gr/en/events">Postmigration: Reframing Identity, Community and History</a>" at Space 52, organized by <a href="https://www.diathens.gr/en" target="_blank">The Danish Institute at Athens</a></div><div><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54JoolA7TwVmFRmsg8S0N6dRz7akn9cOLRwkXybE4Q-_i1qyQ7KLyvRov9R2EJroNOurWuMLiDShH5Yfd18cTs885ztqYlK9q9iY68wM58TvMQUfFQNWVoAeypClcTb7agmSVKCi35zk/s2048/IMG_7235.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi54JoolA7TwVmFRmsg8S0N6dRz7akn9cOLRwkXybE4Q-_i1qyQ7KLyvRov9R2EJroNOurWuMLiDShH5Yfd18cTs885ztqYlK9q9iY68wM58TvMQUfFQNWVoAeypClcTb7agmSVKCi35zk/s320/IMG_7235.jpeg" width="320" /></a><br /><div class="paragraph"><u><br /></u></div><div class="paragraph"><u>9-10.9.2021:</u> Panel Coordination of the <a href="https://www.youtube.com/watch?v=2uVSGBMO__U" target="_blank">3rd International Forum of Performance Art (IFPA)</a>: “The Gendered Body in Performance. The Political through the Performativity of Gender”, organized by <a href="https://www.facebook.com/emphasis.artcentre/" target="_blank">Emphasis Art Centre</a> and <a href="https://www.almakalma.net/" target="_blank">Alma Kalma Research Laboratorium,</a> Parko Ag. Varvaras, Drama (GR).</div><div class="paragraph"><u>26-29.8.2021:</u> Co-curator of the workshop-project “Carving the Negative” at <a href="https://kinono.gr/" target="_blank">Kinono</a> at Tinos (GR) and organized by <a href="https://www.thetelossociety.com/" target="_blank">THE ΤΕΛΟΣ SOCIETY | TTS - Arts & Culture Research Lab Observatorium</a></div><div class="paragraph"><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqopeKvXYXAlMloi9LKtr74JKZmrvdfz3enxfqm2TrkRHDqoUgb1vrohmtaEdRrHcJowz4K4j87BX-Ku3zPAk7MH_6ayQh_qf8khrTIXUGa8d15kgM3ICRv5F2D61N9h7c3U3krTRo3-I/s1600/74230454_2481996091920438_8006603962197213184_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1334" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqopeKvXYXAlMloi9LKtr74JKZmrvdfz3enxfqm2TrkRHDqoUgb1vrohmtaEdRrHcJowz4K4j87BX-Ku3zPAk7MH_6ayQh_qf8khrTIXUGa8d15kgM3ICRv5F2D61N9h7c3U3krTRo3-I/s320/74230454_2481996091920438_8006603962197213184_n.jpg" width="320" /></a></div><div class="paragraph"><u><br /></u></div>19.10.2019:</u> Lecture "Post-industrial Design," Conference <i>“</i>Post Europe: 3 Approaches for the Future of Europe in a Global Perspective”<i> </i>by Goethe Institut Thessaloniki in the context of <a href="https://www.labattoir.org/freiraum-ii-x-labattoir.html">FREIRAUM II x LABattoir </a>at the "Former Slaughterhouse" Municipal Building of Thessaloniki (GR).</div><div class="paragraph"><u>8.5.2019:</u> Panel Coordination <a href="https://www.facebook.com/events/328736437815714/">Post-industrial Design: The LABattoir Case</a> in the Context of the 'Thessaloniki Design Week' at the "Former Slaughterhouse" Municipal Building of Thessaloniki (GR)</div><div class="paragraph">
<u>11.1.2019</u>: Introductory lecture to “<a href="https://www.blod.gr/lectures/the-end-of-diversity-in-writing-about-art/">The End of Diversity in Writing about Art</a>” Lecture by James Elkins E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago, organized by the Greek Society of Art Historians, Benaki Museum.<br />
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<u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u><u><br /></u> <u>8.12.2018</u> Lecture "Art for Social Change", <a href="https://www.labattoir.org/freevolous-city-stage.html">"Scene in a City"</a>, a workshop for the creation, design and construction of a portable theater scene for the City of Thessaloniki. by Goethe Institute Thessaloniki & Urbane Künste Ruhr in the context of "Actopolis. The Art of Action," at the "Former Slaughterhouse" Municipal Building of Thessaloniki (GR)<br />
<u>21.11.2018</u> Lecture: "<a href="http://www.arch.uth.gr/el/activities/1850">Postindustrial Hyperculture and its Subject</a>", Department of Architecture, University of Thessaly, Volos (GR).<br />
<u>21/10/2018,</u> <a href="https://www.gnamamidakisfoundation.org/1o-ekpaideytiko-ergastirio-texnis/" target="_blank">1st Educational Workshop:</a> The G. & A. Mamidaki Foundation guides students in the world of contemporary art, at Minos Beach art hotel, in Agios Nikolaos, Crete, Modern Art.</div><div class="paragraph"><u>12.10.2018</u> Lecture: "Speech Act Theory in Visual Studies: Abstract Art and Modern Visibilities", Faculty Research Seminars 2018-19 Series, Deree The American College of Greece (GR).<br />
<u>26.3.2018</u> Lecture: "The Postindustrial Condition", MA Postindustrial Design, Department of Architecture, University of Thessaly, Volos (GR).<br />
<u>3.-5.11.2017</u> Paper presentation: The Anthropotechnics of Branding. 3rd International Conference and Exhibition on Semiotics and Visual Semiotics <i>Branded. The Semiotics of Branding in Culture and Context</i>, Cyprus University of Technology, Lemesos (CY).<br />
<u>6.– 7.07.2017</u> The School of Everything at the Parliament of Bodies at the <a href="http://www.documenta14.de/en/calendar/23511/the-school-of-everything-at-the-parliament-of-bodies">documenta 14 </a>Athens & <u>11.–13.06.2017</u> The School of Everything at the <a href="http://www.documenta14.de/en/calendar/22574/the-school-of-everything">documenta 14 </a>Kassel, with Sotirios Bahtsetzis, Joulia Strauss, Katja Ehrhardt, Paul B. Preciado, Arnisa Zeqo, Jean-Pierre Rammant, Max Spielmann, Jonas Tinius, Luca Di Blasi, Vasyl Cherepanyn, Mathilde ter Heijne, Noah Fischer, Mriganka Mudhukallya, Elad Lapidot, Lindsay Parkhowell, Maarten Vanvolsem, Johanna Scherf, Bart Geerts, Mischa Schaub, Andrea Iten, Georgia Kotretsos, Sotiris Tsiganos, Jonian Bisai, Ahmad Alkhatieb, Sebastian Schäfer, Judith Holzer, Sebastian Lütgert, Jan Gerber, Jenny Marketou, Ioulia Mermingka, Tania Hron, Sanchayan Ghosh, Martina Schumacher, Marco Klausen, Nuno Cassola Marques and Costas Amvrosiadis, organised by AthenSYN and Avtonomi Akadimia in collaboration with Allianz Cultural Foundation, Partners: ASFA Athens School of Fine Arts (GR), Kunsthochschule Kassel (D), LUCA School of Arts, Leuven, Brussels, Gent (B), HyperWerk Institute for Postindustrial Design, FHNW University of Applied Sciences and Arts, Basel (CH).<br />
<u>6.5.2017</u>, Lecture, Conference of the 2nd edition of Public Art Festival <i>Survival: Art in Public Space</i>, at the City of Athens Cultural Centre with the support of the Organization of Culture, Youth and Sports of the Municipality of Athens, with Αndreas Fakis, Voina, Denys Zacharopoulos, Martin Schulze, Steve Kurtz, Yasha Young, Vasilis Charalambidis, Maria Chatzidakis, Julia Tulke and Costas Varotsos, coordinated by Alexandros Psychoulis.</div><div class="paragraph">
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<u><br /></u> <u><br /></u> <u>31.3-1.4.2017</u>, <i>International Conference Work as Invention Art for Social Change, </i>Principal Scientific Consultant and Moderator of the Panel Discussions of the conference with video statements and presentations by Tania Bruguera, Kari Conte, Pablo Helguera, Jeanne Van Heeswijk, Monika Kästli, Achilleas Kentonis, Dimitri Konstantinidis, Florian Malzacher, Pedro Reyes, Felix Stalder, Nato Thompson, Sepake Angiama, Stephanie Bertrand, Niels Boeing, Lydia Chatziiakovou, Elli Chrysidou, Christopher Dell, Eric Ellingsen, Giovanni Flore, Giorgos Gkiouzepas, Harikleia Hari, Philip Horst, Lena Jöhnk, Samuel Kalika, Christof Mayer, Christos Pierros, Rainer Rosegger, Christos Savvidis, Max Spielmann, Kostis Stafylakis, Nicholas Theocarakis and Arnisa Zeqo. The conference included the live streaming of the entire conference by the Media Lab and it was organized by <a href="http://www.artecitya.gr/">Artecitya </a>by Goethe-Institut Thessaloniki and HyperWerk Institute for Postindustrial Design – Academy of Art and Design – University of Applied Sciences & Arts Northwestern Switzerland, Basel and the Municipality of Thessaloniki - project "LABattoir”.<br />
<u>24.10.2016</u>, Coordination of the Public Discussion <i>Art as Remedy? Cultural Work and the Refugee Crisis</i> in the Athens Biennale at Varvakeios Market with Presentations by Paris Legakis, Marina Gioti, Petros Lales, Vilma Andrioti and Evi Lambropoulou.</div><div class="paragraph">
<u>29.4.2016, </u>Lecture<u> </u><i>Post-Anthropagogy: For a Change of Mentality,</i> conference *Not Established Post Industrial Design 28.-30.4.2016 Basel (CH), University of Applied Sciences Northwestern Switzerland, Academy of Art and Design.<br />
<u>17.4.2016,</u> panel and roundtable discussion <i>Art-as-Education</i>, with Paul B. Preciado, Vasyl Cherepanyn and Joulia Strauss, during the Athens Biennale 2015-2017.</div><div class="paragraph">
<u>15.4.2016,</u> Lecture <i>Education as Curatorial and Artistic Practice</i>, Seccion II: Common Praxis of the International Summit Synapse 2: Rethinking Institutional Critique - A View from the South, Athens Biennial 2015-2017 Omonoia, with Katia Arfara, Maria-Thalia Carras, Olga Hatzidaki, Vasyl Cherepanyn, Apostolos Kalfopoulos, Mohammad Salemy, Ala Younis.<br />
<u>19.12.2015</u>, lecture <a href="http://www.boell-brandenburg.de/en/2016/01/04/impact-art-social-change"><i>Art for Social Change</i>, REALISE</a>. The Impact of Art For Social Change Towards Sustainable Growth for Cities, Warm-up - Introduction to <a href="http://www.labattoir.org/">LABattoir</a>, at the "Former Slaughterhouse" Municipal Building of Thessaloniki (GR).<br />
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<u>10.11.2015</u>, lecture <i>Semiopower, Eikonomia and Dispositifs of the Posthuma</i>n, during the <a href="http://www.documenta14.de/en/calendar/847/launch-event-of-south-as-a-state-of-mind-6-documenta-14-1">launch event of the publication program of documenta 14 - South as a State of Mind</a> #6 [documenta 14#1] at the National Library of Greece, with Marina Fokidis, Quinn Latimer, Naeem Mohaiemen, Bonaventure Soh Bejeng Ndikung, Paul B. Preciado and Adam Szymczyk.<br />
<u>9.6.2015</u>, lecture <i>Semiopower and Eikonomia</i> in <a href="http://avtonomi-akadimia.net/programm/">Avtonomi Akadimia</a>, Athens<br />
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<u><br /></u> <u>31.1.2015</u>, Lecture <i>Art for Social Change,</i> during the <a href="http://www.artecitya.gr/">Artecitya</a> Conference in the Goethe Institut Thessaloniki, following the kickoff meeting and workshop of the Artecitya network.<br />
<u>27.9.2014</u>, Lecture <i>Catastrophe: On the Management of the Future,</i> during the International Symposium "Politics of Paradise and Catastrophes" in <a href="http://www.forum-freies-theater.de/">FFT Dusseldorf</a>, Germany, and Round-table discussion with Federica Bueti and Reinhold Görling.<br />
<u>27.6.2014</u>, Round-table discussion <i>Images on Crisis, </i>at the <a href="http://www.thmphoto.gr/">Museum of Photography, Thessaloniki.</a> Participants: Sotirios Bahtsetzis, Peggy Sue Amison, Laura Serani, Katerina Stathopoulou, Moderated by Alexandra Athanasiadou.</div><div class="paragraph">
<u>7.6. 2014</u>, Round-table discussion <i>Quest of Query: The Menace of the Obvious, </i>tranzit.hu Budapest, about the interpretations of contemporary fascism and nationalism within contemporary art in Greece, Hungary, as well as Europe. Participants: Sotirios Bahtsetzis, Márton Pacsika and artist Theodoros Zafeiropoulos. Moderated by Eszter Szakács.</div><div class="paragraph">
<u>24, 25.1.2014</u>, Lecture <i>Image Wars: Semiopower versus Eikonomia,</i> Centre for Art and Technology (<a href="http://on1.zkm.de/zkm/e/">ZKM</a>) in Karlsruhe during the "GlobalActivism" Symposium, organized by Peter Weibel <a href="http://blogs.taz.de/hausmeisterblog/2013/12/31/global-activism/">Global Activism</a>.<br />
<u>20.9.2012</u><span style="font-style: italic;">, Lecture The Politics of Mimesis,</span> Centre of Contemporary Art Thessaloniki in collaboration with the Goethe Institute Thessaloniki, Panel Meeting „Art in Public Space and its Role in Urban Transformation“ with the participation of Mischa Kuball, Florian Matzner, Carina Path, Syrago Tsiara.</div><div class="paragraph"><br /></div><div class="paragraph"><br />
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<u><br /></u></div><div class="paragraph"><u>4.5.2012.</u> Introductory lecture to Hans Belting’s lecture “World Art & Global Art. Views of Changing Art Worlds” MMCA Project Space</div><div class="paragraph"><u>22.2.2012</u>, <i>Installation Art, Environment, Land Art</i>, lecture during the series <a href="http://www.vis.auth.gr/index.php?option=com_content&view=article&id=279%3A2011-11-04-21-39-38&catid=64%3A2010-12-08-16-06-19&Itemid=105&lang=el">ΜΑΘΗΜΑΤΑ ΠΟΛΙΤΙΣΜΟΥ</a>, organised by the MMCA in Thessaloniki.<br />
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<u>12.6.2011</u><span style="font-style: italic;">, </span><span>L</span>ecture and Workshop <span style="font-style: italic;">Images Make Sense,</span> at the <a href="http://www.alqasba.ae/shelter.aspx">Maraya Art Centre</a>, during the project Roaming Images in Sharjah, UAE, with the participation of Giuseppe Moscatello, George Katodrytis, Ebtisam Abdulaziz, artists from UAE and students from the American University in Sharjah.</div><div class="paragraph">
<u>31.3.2011</u>, Panel Coordination <i>Iconic – Architectonic: Architecture and Visual Culture in the Middle East</i>, Member of the Scientific Team of the Conference and Panel Moderator, NOESIS Science Centre and Technology Museum, Thessaloniki, organised by the Architecture Department, Aristotelian University of Thessaloniki, Ecoweek and the 3rd Biennale of Thessaloniki.<br />
<u>4.11.2010</u>, Lecture <span style="font-style: italic;">Universalism as Revolution, </span>at Fachhochschule Nordwest Schweiz - Institut Kunst during the "<a href="http://web.fhnw.ch/hgk/projekte/iku/guestcorner/">Guest Corner</a>" series in Basel.<br />
<u>6.6.2010</u>, Lecture <span style="font-style: italic;">Symptomatic Spectators, </span>at Freud's Dreams Museum in St. Petersburg,<br />
<u>16.12.2009</u>, Lecture <a href="http://www.columbia.edu/cu/hellenicstudies/past_seminar.html" style="font-style: italic;">Cinematism against Visual Regimes: Undoing Gender in Contemporary Art in Greece</a>, Columbia University in New York, organized by the <a href="http://www.columbia.edu/cu/hellenicstudies/seminar.html">Modern Greek Seminar</a> at the <a href="http://www.columbia.edu/cu/seminars/">University Seminars Program</a>, The Program in Hellenic Studies; <a href="http://wwwapp.cc.columbia.edu/art/app/arts/index.jsp">The School of the Arts</a>.<br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br />
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<u>30.8-1.9.2009</u>, Lecture <span style="font-style: italic;">I</span><span style="font-style: italic;">mage Wars: Athen’s riots between event and multitude,</span> at the <a href="http://www.slowar.tv/index.php?newlang=en">Dictionary of War - Edition Moscow</a>organized by Oleg Nikiforov and Xenia Golubovich - Project Letterra, Logos Publishing House, Off University at the National Centre for Contemporary Art in Moscow in collaboration with <a href="http://www.merve.de/">Merve</a> Publishing House.</div>
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<u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u><br /></u> <u> </u></div><div class="paragraph"><u>4.9.2009</u>, Lecture <span style="font-style: italic;">On the Post-Cinematic Conditions of Contemporary Art: Dispositifs of Politics,</span> at <a href="http://www.freud.ru/">Freud's Dreams Museum</a> in St. Petersburg.</div>
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<u>25.3.2009,</u> Round Table Discussion <span style="font-style: italic;">Einblicke und Diskussion zu den Hintergründen der Ausschreitungen in Griechenland rund um den Jahreswechsel und den Folgen des Aufstands,</span> with Haris Triantafilidou, Vassilios Tsianos, Nikos Xydakis, organized and moderated by Margarita Tsomou at the <a href="http://www.rotefabrik.ch/de/konzept/eventdetail.php?id=5582">Rote Fabrik</a> in Zurich.</div>
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<u>31.08.2007</u>, Lecture <span style="font-style: italic;">Testing the Public. New Public Art in Greece</span>, during the International Symposium "The Public Turn in Contemporary Art" in <a href="http://www.santralistanbul.com/index_en.html">Santralistanbul</a>, Istanbul, curated by Pelin Tan.</div>
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Sotirios Bahtsetzishttp://www.blogger.com/profile/00117777647788140576noreply@blogger.com