Friday, July 31, 2015

Friday, July 24, 2015

Talk with Sympathy






We walk.  A long walk.  A slim talk.  Our bodies direct our words and our words distort our bodies.
You don’t know how to love unless you know how to mourn.
"But did the Ancient Greeks mourn before they loved or loved before they mourned?" Euphrosyne wonders.
"I didn’t think of the ruined Greeks; isn’t that funny?  I‘d have to make an exception for them."
"And so Clytemnestra mourned Agamemnon after she killed him," she adds.
"Yes.  And Medea?  She mourned the loss of Jason’s love before she mourned the slaughter of her beloved children!"

Another bright day of such discussion!
of mourning and loving,
of losing and lacking.
And so we depart
from our inherited enthusiasm.
We split our walk after
digesting the
disgust
with which these sort of
stories once
filled us
as children listening
to our Greek
ancestors
spit these
tragedies out.

As I sit on a park’s bench with my thighs apart and my elbows resting on my bent knees, Euphrosyne’s branched hair blowing away into distant trees, behind me I hear a retired voice slur:

"I lost my wife on a summer's day.  Now my winter days are more than those humid summer evenings of walking with her."
"But there will be some unexpected warm nights in the winter", I felt like saying, but didn’t.  
I thought. He’s mourning the loss of someone he loved!
"Did you mourn before your wife died?" I wanted to ask, but didn’t.
Instead, I look after Euphrosyne’s footprints in the park.          
Did I mistake Medusa for Eros?
All those times when her hair stroked me,
I was being kissed by snakes!
And each time my body had turned to stare at her,
vibrating,
it turned to stone.
  
Those sultry eyes,
waxing lyrical about
our Amazonian walk,
Love to stare back

when

summer sweat sticks to
supple skin,
smells of spiced orange
peel and dried clove.

 "Have I mourned her?"
 "Should I tell her that I loved her but never mourned her?"


Sunday, July 19, 2015

The Colour I Hear


Once upon a time rainbow colours gave birth
mimed and rhymed with my daydreams, till they faded,
washed into each of them was a shade
of not quite black nor dark, bark is the tone of mirth.

Clear white waters of the Mediterranean
turned a washed out grey, now its waves cannot lay
the bronze sparkling sand has formed into clay
my palette must be mixed again and again.

Since those self-contained colours betrayed me
an August sunset of the Aegean, it is not
the fire red of secrets dripping is too hot
I chose one royal and loyal to be.

Goya’s feverish red fears are never dead,
my colour is red, but instead: its called Blood Red.


Saturday, May 2, 2015

Symphonic Node


“Symphonic Node” is a project by art group, pick nick, inviting artists to write a letter thinking of real space, physical, imaginary or otherwise, in all possibilities of identifying it, and which has infused their research and practices, generating concepts and material for their artwork. An all day open-air gathering was dedicated to the act of reading these letters. Imbuing whispering words of temporary soundscapes into the landscape of Paliomylos, considers ways of valuing experiences of echoing narratives. In this sense, we explore the idea of reading letters in convivial gatherings as an exhibition format. The letters become perceivable not through a means of “display” but by their embodiment via a reading given by the audience present. 


Participating artists are: Petra Bauer, Daniel Gustav Cramer, Assaf Zeev Gruber, John Holten and Sam Smith, Marina Kassianidou, Runo Lagomarsino, Oda Projesi, Christodoulos Panayiotou, and Ana Tiscornia.

Participating letter readers and performers are: Oya Akin, Aydin Mehmet Ali, Mohammed Awwad, Julia Brendle, Prof. Zelia Gregoriou, Magnus Renbäck, Prof. Stephanos Stephanides, and Erika Voelzer.  







Sunday, March 15, 2015

Braid Bound






Savella Michael has worked with paper and coloured pencils, and with water-soluble ink. In her previous work, colour self-adhesive cut outs layered on fine black and white drawings, create contrasts of an apparent harmony and a subtle frenzy.


For the last three years now Savella Michael has been working on the project, “Delicious Buns”. Having developed in the process, at first stage, however, she worked with small-scale and large black and white drawings of braids and buns set in different moods and contexts. 

At a later stage, the artist developed these drawings into what look like a delicate drawing book. Each drawing on every page retells a tale, as these stories slide smoothly into each other. Girls’ pony tales fly in disarray, some at fiery speed and high impact, while others, symmetrically parade into what might wonderfully remind us of Alice’s other worlds. The solo exhibition, titled “Braid Bound”, includes a video, which, in some ways, uncovers the artist’s silent telling of this drawing book experience. Turning the pages of each illustration, Savella Michael grants the viewer a “reading” of each leaf, entering and exiting each one at the slow and reflective rhythm of this movement. And while she is not physically present in this video, her fingers are.



Friday, January 30, 2015

Dear Charlie


I’m not Charlie.
Yes. It was a terrible act and one that deserves to be condemned.
12 cartoonists and journalists shot to death in cold blood.
But language can play surprising tricks on our unconscious when speediness takes over the media and pushes us harder than we know, between dichotomies. Almost on the same day of the shootings, people all over the world, on and off social forums,
donated their sympathy to a whirlpool of split opinion upholding the identity of a magazine and institution in France,
hailing: ‘Je suis Charlie’.

I’m not Charlie.
Falling into a locking polarization in camps of reductionism,
innocent humorists expressing their right to articulation,
revengeful extremists trying to take “others” freedom away;
you’re either “with us” or “against us”,
a reiteration of Bush’s post 9/11 ticket to war,
a political tactic imposed by powers beyond our means.

I’m not Charlie
and I’m also not absolving those who committed this crime. 
But tragic incidents that seemingly arise without warning  
produce more living victims in the aftermath
by dividing public opinion deeper between imbedded supporters of a war on Muslims and defenders of second-class citizens in western “democracies”.

to future judgments,

yours continuing,

Maria Petrides


Tuesday, September 16, 2014

'Dandilands'







pick nick opens one-year-project 'Dandilands' with Jumana Manna. 
Artists participating: Marc Bijl, Mustafa Hulusi, Mahony, Michelle Padeli, Liliana Porter, Kevin Schmidt, Socratis Socratous, Kostis Velonis, Carla Zaccagnini.

for a discussion around the project in Greek, see
http://www.parathyro.com/?p=31282




Wednesday, May 28, 2014

(re)posing Angels



I'm in a meridional doze.
Heaving sighs of sweltering shadows and
lines pleating my face.

that pleasure of eating
what's in the vision
beams across this

daze. Up at the hour of
duskiness just when her mighty
voice gave rise to my jitters.

'Rise up, look out'.
Who are you?' I'm cuddled
by your fever.

and then I swell, sweeping your way.




in power and pride we rise with you. in present memory, dedicated to Maya Angelou.




The one(s) I love


Difference is everywhere.  Inside ourselves and beyond.
In a name, a person, a day, a smile.
In front of me, behind us, right next to you.
All we must do is look, pay attention and listen with respect.



Η διαφορτικότητα είναι παντού. Μέσα μας και πέρα.
Σε ένα όνομα, ένα άτομο, μια μέρα, ένα χαμόγελο.
Μπροστά μου, πίσω μας, ακριβώς δίπλα σου.
Το μόνο που έχουμε να κάνουμε είναι να κοιτάξουμε, να δώσουμε προσοχή και ν’ακούσουμε με σεβασμό.









pick nick



Looking Forward



for an interview on Michael Papamichael's exhibition, see
http://www.parathyro.com/?p=29466




Sunday, December 22, 2013

'entitled'


In the last years, Panayiotis Michael’s work has been preoccupied with what may be described as, indeed, ‘entitled’, a house. The Künstlerhaus exhibition is less gripped with the social happiness that a structure and its contents may signify, and more pleasurably associative in its flow of forms and metaphors, related, and not, to the artist’s family house, planned and never constructed. Vacant window edges are seductively abstracted in a horizontal line(age) of plank wood, hence, the piece’s title, 7 Window Frames. Entities “belonging” to a house are taken apart into another time when they existed otherwise. 



















Feather padding quietly fosters the history of a house, 
in A Second Tryand enigmatic interiors weave remains 
of future memories in cabinets of curiosities. In the 
spaces of Künstlerhaus Bethanien, Panayiotis Michael 
creates an ambience, gracefully evoking moods 
prompted from what we feel entitled to experiencing. 



















The show generously offers a leveling kind of 
playground from which no one seems to be in a 
favorable position to grasp the boundaries of a house 
of entitlement. Perhaps, the lost dream house of 
the child is not imagined as an enduring house of the 
future but as small, passing gestures of tranquil moods, 
where we can renegotiate our entitlements.



Maria Petrides, independent writer                                   
                     

Monday, December 2, 2013

This is not 'history-writing'

An evolving timeline of exhibition-making in Cyprus, Re Aphrodite @ Other Indications, NIMAC, November 2013- March 2014



A Re Aphrodite (Chrystalleni Loizidou and Evi Tselika) collaboration with Christina Lambrou, Elena Parpa, and Maria Petrides


http://www.reaphrodite.org/2013/11/re-aphrodite-other-indications-nimac.html




Tuesday, October 8, 2013

Bufferzone: Checkpoint


Bufferzone: Checkpoint exhibition is hosted at Depo, Istanbul



http://www.depoistanbul.net/en/activites_detail.asp?ac=96

pick nick projects
pick nick projects featuring Hüseyin Yilmaz
Hüseyin Yilmaz
Sümer Sayın 


       



Hasan Aksaygin
pick nick projects featuring Hüseyin Yilmaz

Thursday, August 8, 2013


http://www.publicmirage.de

Philipp Rupp
Panayiotis Michael and Philipp Rupp

Philipp Rupp, Anna Heidenhain and Panayiotis Michael



Fata Morgana am Sonntag 11.08.2013 -Zelten mit Anna Heidenhain und Philipp Rupp auf dem Tempelhofer Feld und ein Spaziergang mit Pick Nick durch das gentrifizierte Nikosia.
Ab 16.00 gehts los!



Mirage: on Sunday 11.08.2013. Camping with Anna Heidenhain and Philip Rupp, and a walk through the gentrified zone with pick nick projects, Nicosia, on the Tempelhof field.
Starts from 16.00!

Saturday, October 13, 2012

the "U-A-W?" project

PICK NICK PROJECTS


A PHYSICAL PARTICIPATION          

THE "U-A-W?" TEMPORAL EVENT





Alkis Hadjiandreou, Panayiotis Michael, Maria Petrides

Urban event

pick nick projects as ‘wild greens’ (an urban event focusing on natural and urban surroundings which encompass the city’s inhabitants).
 notes on ‘wild greens’ -
 - tour walks along a selected path in the city where a horticulturist/botanist speaks about any trees/plants/flowers found on the way. A degree of serendipity is part of this tour’s theme so ‘stumbling’ upon nature, rather than following the order of a park’s path, liberates other experiences otherwise neglected.
-  a horticulturist/botanist from the Department of Environmental Science and Technology, or the Department of Agricultural Sciences, Biotechnology and Food Science will act as a guide for this walking tour. Emphasis will be placed on the social and cultural aspects of the life and history of plants/trees/flowers, etc, and on how the inhabitants in this tour respond to them, or not.

-     walking tours will occur twice for a single day


-    conceptual  framework: a kind of zooming into details that we don’t usually pay attention to while walking in the street, or, as a matter of fact, while driving. The idea here is about reclaiming the street by presenting these kinds of existing lives, which actively but silently take part in the natural, social and cultural history of the city. The tour will walk along these different kinds of urban layers. Practicing human awareness on an everyday level by way of the simple act of walking down the street, noticing and smelling flowers and plants, and learning about their history, can lead to other forms of becoming aware on the street, as for example, being inclusive of other people’s backgrounds, especially when foreign to our own experiences.

An outline of a location and time schedule will be sent to you in the following days.

REMOTE PARTICIPATION  The "U-A-W?" XS Installation


Microscape

A high definition small microphone will be placed in the “U-A-W?” baggage. The empty space inside the box – revealed by the lights of the exhibition room entering the baggage from the existing side holes – will be video projected on a larger screen. The microphone will collect all sounds, without any filtering, produced by people and activities during the exhibition. This soundscape, titled Microscape, will function as the soundtrack of the video and will be listened to via a pair of headphones (2 pairs will be available). In this sense, the strictly defined space of the box is treated as a canvas invested with multi-rhythmical sounds, noises, talking voices, body movements, suggesting that the city’s principal quality is the place – par excellence – of potential and unexpected encounters.


PICK NICK PROJECTS

For more information, please visit the website: www.urban-a-where.com

The opening of the exhibition is on Wednesday 17 October 2012, at 19:30, Kastelliotissa, Paphos Gate, Nicosia, Cyprus