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carried by invisible bodies [2022]
de Ruimte & Sexyland World, Amsterdam
A performance series on queering narratives by Amsterdam-based artists.
With Eleonora Luccarini, Maja Chiara Faber, LazerGazer, Azul de Monte & Raffia Li, Maciej Sado, Elisa Batti, Amber Vanluffelen, FRÖ, Nica Roses & Fitgirl.
Curated by Isadora Tomasi and Angeliki Tzortzakaki.
Design by
Nathalie Golde Sørensen
With the support of AFK and Fonds Podiumkunsten
Dear,
remember when you moved in space and a soundless disturbance made you turn? Like a mighty revelation made you realise something; an entity was following you, tangentially, in unison, in anticipation, in delay with your movements. You had been touched by invisible bodies.
Now, what accompanies your journey along the four-chapter performative event at De Ruimte, are not ghostly projections, but vibrant visions shared through a multitude of practises related to the body and its many virtualities.
For the next months (February – July 2022), cyclically, the invited artists will populate the embodied and virtual space between bodies, objects, ideologies, selves, intimately conspiring with the fictional and fluid concept of identity. Their languages of synchronic verbal tenses and audiovisual scores will curb and project you in the prysm of life possibilities.
In the process, you may be aroused by the blurriness of organs and dreams, and let go of the idea you are contained only by your skin. You came a long way, you will be leaving, because you are here and where, if you were, where we will be.
We hope to meet you there.
text by Dalia Maini
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School of Waters, 19th
Biennale des jeunes créateurs de l’Europe et de la Méditerranée [13/5 - 31/10/2021]
various locations, San Marino
Mediterranea 19 – School of Waters imagines a biennale as a temporary school inspired by radical and experimental pedagogies and the way they challenge artistic, curatorial, and research formats. From this standpoint, School of Waters acts as a collective tool to defamiliarise stereotypes that manipulate our geographical imaginaries, especially those linked to the eurocentric interpretation of the Mediterranean area.
School of Waters revolves around a critical rethinking of the material and symbolic agency of waters from a geopolitical and deep-ecology perspective. The desire to learn from waters reveals ways to un-train nationalisms and rediscover watery syncretism that constituted the Mediterranean as a complex platform of life forms and knowing processes. The curatorial team develops Mediterranea 19 as an ecology of practices, trickling through various spaces in resonance with the specificity of a small state such as the Republic of San Marino.
With Noor Abed, Adrian Abela, Noor Abuarafeh, Altalena, Marco Antelmi, Panos Aprahamian, Bora Baboci, Riccardo Badano & Hanna Rullmann, Hanan Benammar, Yesmine Ben Khelil, Maeve Brennan, Johanna Bruckner, Madison Bycroft, Annalisa Cannito, Valerio Conti, Selin Davasse, Binta Diaw, Adji Dieye, Enar de Dios Rodríguez, Caterina De Nicola, Marianne Fahmy, Alessandra Ferrini, Enrico Floriddia, Victor Fotso Nyie, Haris Giannouras, Marco Giordano, Adrijana Gvozdenović, Bianca Hisse, Huniti Goldox, Areej Huniti & Eliza Goldox, KABUL magazine, Valentina Karga, Dalia Khalife, Ru Kim, Gašper Kunšič, Latent Community, Sotiris Tsiganos & Ionian Bisai, Vesna Liponik, DDC | Design di Comunità, Filippo Marzocchi, Corinne Mazzoli, Dina Mimi, Tawfik Naas, Eleni Odysseos, Francis Offman, Mila Panić, Eva Papamargariti, GianMarco Porru, Gabriele Rendina Cattani, Jacopo Rinaldi, Virginia Russolo, Pablo Sandoval, Michele Seffino, Selma Selman, Vanja Smiljanić, Alcaeus Spyrou, Chara Stergiou, Valinia Svoronou, Theo Triantafyllidis, Endi Tupja, Sophie Utikal, Marina Xenofontos.
Senior Curators: Alessandro Castiglioni, Simone Frangi
Curatorial Board: Denise Araouzou, Giulia Colletti, Panos Giannikopoulos, Giulia Gregnanin, Theodoulos Polyviou, Angeliki Tzortzakaki, Nicolas Vamvouklis
book published by Archive Books (Berlin), can be found here.
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Liquid Junctions [May-June 2021]
ARTWORKS SNF x Mediterranea 19
co-curated with Panos Giannikopoulos
On Wednesday, May 19th, at 6 p.m. (local time), ARTWORKS will be hosting an online event which will be livestreamed at mediterraneabiennial.org and through the School of Waters Youtube account. Two separate conversations will take place between the guests speakers Ella Finer and Chuz Martinez, the participant artists (Eva Papamargariti, Valinia Svoronou and Chara Stergiou) and members of the curatorial group of Biennale, Panos Giannikopoulos and Angeliki Tzortzakaki, aiming to activate a network of discussions and actions around the thematic School of Waters.
On Friday, June 4, at 7 p.m. local time, ARTWORKS will hold a public event at the SNFCC Dome in order to support and showcase the work of all SNF ARTWORKS Fellows selected to participate in the Biennale (Ionian Bisai, Eva Papamargariti, Valinia Svoronou and Chara Stergiou). Liquid Junctions will include a DJ lecture by Hara Stergiou; a performative reading by Quinn Latimer and presentations of the works of Eva Papamargaritis, Valinia Svoronou and the artistic duo Latent Community (Ionian Bisai and Sotiris Tsiganos).
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bi- residency [2018 - 2022]
bi- is an artist residency co-organized by Enrico Floriddia, Angeliki Tzortzakaki, Jérôme de Vienne and Ewa Sadowska since 2018.
bi- has an email address, and an archaic website archiving more or less informative
documents.
From time to time, bi- issues open calls, inviting people to be hosted
during one week of idleness in a shared place. bi- is broke, therefore doesn’t ask its
participants any work.
bi- sometimes appears in conversations and other contexts, is constantly in doubt,
adopts temporary, shifting, multiple, uncertain definitions. But all in all, bi- tries to
favor loitering, hospitality, translation, inefficiency and kinships.
bi-residenci.es
listen here
read here
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Our Seas Are What We Make of Them [4/2021]Laurel Project Space, Amsterdam
With Sophie Utikal, Anto López Espinosa, Kristina Õllek, Sara Milio, Enar de Dios Rodriguez, Baratto & Mouravas
Public programme by Isadora Tomasi & JaJaJa NeeNeeNee, CAO aka Constanza Bizraelli & Reading with friends (of friends)
curated by Angeliki Tzortzakaki
Them, the oceans, bodies, lovers, rivers, voices, sexualities, and us, “ourselves [the] sea, sand, coral, seaweed, beaches, tides, swimmers, children, waves".
Borrowing its title from Hélène Cixous' essay The Laugh of the Medusa (1976), the group show attempts to discuss the notion of agency and its capacity to resonate through entangled relationships.
In response to the context where Laurel is situated – a polder reclaimed in the 17th century to facilitate the “Buitenplaats” of the wealthy Dutch merchants – 'Our Seas Are What We Make of Them' thinks alongside the importance of water in the colonial history of the area.
It gathers differently-situated artists to poetically reclaim the narratives of the sea as an abstract notion that serves to support the male-centred historical references. We think of the early neoliberal 16th century “Mare Liberum” that considered the ocean an inexhaustible resource and transformed it into a commodity to serve the purpose of extraction and accumulation, the imperialistic “Mare Nostrum” claiming the sea as a territory of the Roman Empire, and the latest homonymous Frontex fatal border operation.
The exhibition uses the voice and the water as a platform and methodology respectively to highlight its composing elements. It wishes to become a vessel, a stage and amplifier of the voices discussing women’s agency, embodied oceanic thinking while blending ancient cosmologies, myths and marine ecologies.
With support from the Gemeente Amsterdam, Amsterdam Fonds voor de Kunst, Goethe-Institut Niederlande, Estonian Embassy in the Hague, Cultural Endowment of Estonia, San Serriffe.
Press: NRC, Echo Gone Wrong, Metropolis M
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Public programme by Isadora Tomasi & JaJaJa NeeNeeNee, CAO aka Constanza Bizraelli & Reading with friends (of friends)
curated by Angeliki Tzortzakaki
curated by Angeliki Tzortzakaki
Them, the oceans, bodies, lovers, rivers, voices, sexualities, and us, “ourselves [the] sea, sand, coral, seaweed, beaches, tides, swimmers, children, waves".
Borrowing its title from Hélène Cixous' essay The Laugh of the Medusa (1976), the group show attempts to discuss the notion of agency and its capacity to resonate through entangled relationships.
In response to the context where Laurel is situated – a polder reclaimed in the 17th century to facilitate the “Buitenplaats” of the wealthy Dutch merchants – 'Our Seas Are What We Make of Them' thinks alongside the importance of water in the colonial history of the area.
It gathers differently-situated artists to poetically reclaim the narratives of the sea as an abstract notion that serves to support the male-centred historical references. We think of the early neoliberal 16th century “Mare Liberum” that considered the ocean an inexhaustible resource and transformed it into a commodity to serve the purpose of extraction and accumulation, the imperialistic “Mare Nostrum” claiming the sea as a territory of the Roman Empire, and the latest homonymous Frontex fatal border operation.
The exhibition uses the voice and the water as a platform and methodology respectively to highlight its composing elements. It wishes to become a vessel, a stage and amplifier of the voices discussing women’s agency, embodied oceanic thinking while blending ancient cosmologies, myths and marine ecologies.
Borrowing its title from Hélène Cixous' essay The Laugh of the Medusa (1976), the group show attempts to discuss the notion of agency and its capacity to resonate through entangled relationships.
In response to the context where Laurel is situated – a polder reclaimed in the 17th century to facilitate the “Buitenplaats” of the wealthy Dutch merchants – 'Our Seas Are What We Make of Them' thinks alongside the importance of water in the colonial history of the area.
It gathers differently-situated artists to poetically reclaim the narratives of the sea as an abstract notion that serves to support the male-centred historical references. We think of the early neoliberal 16th century “Mare Liberum” that considered the ocean an inexhaustible resource and transformed it into a commodity to serve the purpose of extraction and accumulation, the imperialistic “Mare Nostrum” claiming the sea as a territory of the Roman Empire, and the latest homonymous Frontex fatal border operation.
The exhibition uses the voice and the water as a platform and methodology respectively to highlight its composing elements. It wishes to become a vessel, a stage and amplifier of the voices discussing women’s agency, embodied oceanic thinking while blending ancient cosmologies, myths and marine ecologies.
Press: NRC, Echo Gone Wrong, Metropolis M