The Mediterranean region lies at the core of the main and parallel programme of the 5th Thessaloniki Biennale of Contemporary Art, which currently takes place until September 30, 2015, in Thessaloniki, as the last segment of a three part program which began in 2011, under the general title Old Intersections-Make it New. The 5th Thessaloniki Biennale of Contemporary Art is funded by the Operational Program Macedonia-Thrace 2007-2013, co-financed by the European Union (European Regional Development Fund) and Greece, it is administered and organized by the State Museum of Contemporary Art, Thessaloniki. General Director of the Biennale is Katerina Koskina.
Between the Pessimism of the Intellect and the Optimism of the Will is the title of the main exhibition of the 5th Thessaloniki Biennale of Contemporary Art; the exhibition is curated by art historian and independent curator, Katerina Gregos. The title of the exhibition is inspired by an aphorism invoked by Italian political thinker and leader of the Italian Communist Party Antonio Gramsci (1891-1937). In The Prison Notebooks (Quaderni del carcere), written in the 1930s while he was imprisoned by the Fascist regime in Italy, Gramsci noted: “The challenge of modernity is to live without illusions and without becoming disillusioned… I’m a Pessimist because οf intelligence, but an optimist because of will.”
In an area of 2.500 sq. m., at Pavilion 6 of the Thessaloniki International Fair, 44 artists and one artist collective from 25 countries will present old and entirely new works (paintings, drawings, installations, photographs, videos) that approach the timely theme of the exhibition. This Gramscian duality (pessimism vs optimism) becomes the point of departure to talk about the current crisis in the Mediterranean, and investigate possible ways to overcome it. “In light of the prevalent fatalism and cynicism that characterizes many aspects of modern politics, economics and public life, as well as the dominant view that the victory of capitalism is ‘inevitable’, Gramsci’s phrase seems as relevant as ever. It is the optimism of the will, that, once acted upon, finally sparks change and can sow the seeds for a better future”, notes Katerina Gregos in her curatorial note, adding: “The central exhibition of the 5th Thessaloniki Biennial will explore the multiple meanings of this dual phrase as well as that gray zone in between. Gramsci’s aphorism could also provide an inspirational point of departure for looking beyond the crisis, at a time increasingly characterized by apathy and a general defeatist attitude towards the intensification of capitalism, growing social and economic inequalities, and the threat to the social state and welfare programs, not only in the Mediterranean, but throughout Europe.”
MAIN EXHIBITION: Between the Pessimism of the Intellect and the Optimism of the Will
The title of the main exhibition of the 5th Thessaloniki Biennale of Contemporary Art is inspired by an aphorism invoked by the Marxist thinker and politician Antonio Gramsci in the Prison Notebooks (Quaderni del carcere) written between 1929 and 1935. Gramsci wrote: “The challenge of modernity is to live without illusions and without becoming disillusioned […] I’m a pessimist because of intelligence, but an optimist because of will.” The exhibition takes Gramsci’s aphorism as a point of departure to reflect on the current crisis that governs much of the Mediterranean region, the geographic focus of the Biennale. Gramsci defined crisis as a situation where “the old is dying and the new cannot be born”. Pessimism of the Intellect entails a critical view of things as they are. Optimism of the Will evokes the imagination, and the call to action necessary to overcome adversity. It is precisely between these two mental poles that much of the Mediterranean finds itself today. The artists in the exhibition explore the multiple manifestations of this duality, engage in critical, oppositional cultural practices, and exercise the freedom of the imagination, thus symbolically engaging with Gramsci’s aphorism to look into and beyond the current crisis, allowing for what Ernst Bloch has called “forward dreaming”.
The event takes place:
23.06.15 – 30.09.15
Leof. Stratou Ave. & September 3rd St.
Τ: +30 2310 589141 & 143
Curator: Katerina Gregos
Exhibition designer: Danae Giamalaki
EXHIBITIONS / ACTIONS
STATE MUSEUM OF CONTEMPORARY ART: Kazimir Malevich and His Students. 100 Years After the Black Square. Russian Avant-Garde Works from the Costakis Collection of the SMCA
The exhibition is dedicated to the centennial of the Black Square, the most seminal work of art in the history of the Russian avant garde, broadly presenting the movement of Suprematism and non-objective art. In the exhibition, one can see works and archival material from the Costakis collection of the State Museum of Contemporary Art which refer to the historic Last Futurist Exhibition 0,10, paintings and drawings by Kazimir Malevich as well as Malevich’s students. The Last Futurist Exhibition 0,10 opened at the initiative of the artist Ivan Puni at the gallery of Nadezhda Dobitsina in St. Petersburg on December 19, 1915 and lasted one month. The exhibition is important because Kazimir Malevich presented there on two walls for the first time works that illustrated his movement of Suprematism with paintings made of geometric, monochromatic forms. Suprematism was presented as a new aesthetic and philosophical approach to realism in the arts, as the depiction of the unseen part of the world, as non-objectivity, as the zero point of painting and the supremacy of form and color over any other component of painting. In the corner between the two walls, the artist placed, as if it were a religious icon, the Black Square, which is the emblem of Suprematism.
CONTEMPORARY ART CENTRE OF THESSALONIKI: Relative Motions. Evangelia Kranioti – Julien Prévieux
To a certain extent, this exhibition constitutes a continuation of the Tradition – Reversal exhibition of the 4th Thessaloniki Biennale of Contemporary Art, as it investigates the element of tradition that is recorded —and therefore survives— in collective memory, and how it is evolving, through the new media, current events, and modern practices and theories, into a linguistic artistic vocabulary. This metalanguage brings out the “special character and idiom” of the Mediterranean, a region with a long and rich cultural, historical and intellectual heritage. Relative Motions refers to acts, motions and actions that no longer exist, not because their essence has been lost, but because the social dynamics and expediencies which caused their original emergence and allowed them to persist for centuries, no longer apply. They nevertheless survive in the collective consciousness, always looking for an occasion to stimulate our individual and collective memories. Subtle but decisive references to the tradition of the Mediterranean basin define the work of E. Kranioti and J. Prévieux (two artists who had never met before) and are responsible for the intensity, originality, poetic qualities and interactivity of the exhibited works. These values and characteristics allow their work to become integrated in the realities, challenges, conditions and particularities of our time, without rejecting or severing their ties with tradition. In their work, both artists also bring out the healthy relationship between art and tradition, showcasing the eclectic relationships and “relative motions” of two artists who are the carriers of an exceptionally rich cultural tradition, revealing how this tradition can be recast in a modern idiom, suitable for a contradictory, paradoxical and volatile era of transition and change such as our own.
THESSALONIKI CITY HALL FOYER AND WATER HALL: Ident-alter-ity
As a part of the 5th Thessaloniki Biennale, the Centre of Contemporary Art of the State Museum of Contemporary Art, in collaboration with Action Field Kodra, Thessaloniki Pride and the Municipality of Thessaloniki, raise the issue of gender. This is an attempt to detect and present various different visual formulations of an issue which has been transformed once again into a contested and contentious arena at a time which has witnessed a rise of neo-conservative, racist, homophobic, lesbiophobic and transphobic behaviour, a time when women’s rights are under attack and discrimination based on race, nationality, sexual orientation and gender identity is soaring. Ident-alter-ity is the product of collaboration, fermentation and open consultation. The goal of this broad collaboration is to forge ties among various communities, formal and informal institutions of the city, and to activate participation by public space interventions and utilizing volunteers and creative clusters.
Participating artists: Lynda Benglis, Ursula Biemann, Pauline Boudry & Renate Lorenz, Marianne Darlen Solhaugstrand, Yevgeniy Fiks, Kostis Fokas, Hector de Gregorio, Igor Grubic, David Hockney, Deborah Kelly & Tina Fiveash, Majida Khattari, Slava Mogutin, Carlos Motta, Natasha Papadopoulou, Antonis Protopatsis, Boryana Rossa & Oleg Mavromatti, Wolfgang Tillmans, Milica Tomic
Ident-alter-ity – But Still in One Piece
Exhibition of artworks following the international open call addressed by Action Field Kodra. Participating artists: Katerina Athanasopoulou, Marilena Aligizaki, Angeliki Avgitidou, Chiara Bertin, Eva Vei Geromichalou, Marina Genadieve, Fred Koenig, George Petrou, Trix Rosen, Kelly Skoularioti, Manuel Vason.
Symposium: Ident-alter-ity. Gender Issues in Contemporary Art (June 18, multi-use hall, Thessaloniki City Hall, 16:00-21:00)
ARCHAEOLOGICAL MUSEUM OF THESSALONIKI: HEL(L)AS! Everywhere! HEL(L)AS! ΠΑΝΤΟΥ!
For this year’s 5th Thessaloniki Biennale of Contemporary Art, the Archaeological Museum of Thessaloniki invited Constantin Xenakis, an artist who derives philosophical ideas and symbolic forms from the ancient Greek culture, and organizes the exhibition HEL(L)AS! Everywhere! HEL(L)AS! Παντού!. The position of a contemporary artist in a museum of ancient art is usually justified by seeing it in terms of a “discourse” between the old and the new. In the case of Xenakis, this “silent discourse” constitutes a particular challenge for the artist, as –in his words- he is offered the opportunity to experience the ancient Greek world, to which he believes that spiritually and metaphysically belongs. Indeed, in the Archaeological Museum of Thessaloniki the artistic coexistence of the contemporary works of Xenakis and the ancient artefacts is achieved in the most direct way: in the premises of the permanent exhibitions of the museum, i.e. in the contemporary “natural environment” of the ancient objects. In this exhibition we present Xenakis’ works from 1970 up until today, through which the artist comments both on the current reality and on transcendent, inter-temporal values. The same also applies to the antiquities in the collection of the Archaeological Museum of Thessaloniki: they express collective values and the aesthetics of the time they were manufactured and used. In this vein, the work of Xenakis finds in the halls of the Archaeological Museum of Thessaloniki its spiritual match; it encounters its original references and acquires an attractive interpretive framework.
MUSEUM OF BYZANTINE CULTURE: Travelling in the Eastern Mediterranean Through the Digital Archive of Greek Culture of Th. Korres (A.U.TH.)
The exhibition (also traveling) aims to show to the public a series of more or less known places with a strong Greek presence, with emphasis on ecclesiastical and secular monuments, and whose common feature is their position along the coastline of the East Mediterranean. The exhibition is divided into seven sections, leading visitors along an imaginary route that starts in the region of the northeastern Aegean coastline of Asia Minor and moves onto the southeastern part of the Mediterranean basin, finally arriving in the Sinai Peninsula and Egypt. The material on display comes from the Digital Archive of Greek and Byzantine Culture of Theodoros Korres, professor emeritus of A.U.TH. As the relevant website of the archive points out, “For nearly half a century now, the emeritus professor of the Department of History and Archaeology Theodoros Korres has been capturing with his lens monuments of Byzantine, Classical, Hellenistic and Roman periods in Greek regions in the depths of Anatolia. The result is truly stunning: tens of thousands monuments of our cultural heritage, many of which are completely unknown. It aims to transfer the public mentally to places, where Greek civilization flourished and reminds them of our history and tradition”.
TELOGLION FOUNDATION OF ART AUTH: Earth’s enduring gifts
The exhibition, Earth’s enduring gifts, hosted at the Teloglion Foundation, attempts to promote Greek nature and biodiversity as a timeless source of inspiration and resources for the welfare of man and the development of social life, culture, economy and science. The visitor to the exhibition will follow a path through space and time starting in the Aegean and the prehistoric Thera, stopping over on the Greek mainland and ancient Macedonia and finally choosing the present as the terminal station. The wider area of the Aegean civilizations that flourished in the region is not only an important piece of the natural and cultural mosaic of the Mediterranean in general, but is also a miniature of all its features: small in size and almost closed in shape, friendly towards man, a mild climate with stable weather conditions, a passage and crossroads for peoples, a long human presence and a rich diversity of cultures. Ancient vessels for lighting, grooming, storage, transportation, cooking and consumption of food and drinks are displayed next to artistic depictions of plants, fruits and animals, revealing the transformation of “earth’s enduring gifts”, albeit simple, yet valuable, from means of survival to high aspects of social life and artistic expression.
PAVILION 6 / LOVE DIFFERENCE: Love Difference Table / Michelangelo Pistoletto
This emblematic work and “manifesto” by Michelangelo Pistoletto will host all the theoretical projects and events of the Biennale. It will also serve as a mirror, reflecting the events, intermingling and outcomes of the Biennale’s three-day programme about the Mediterranean under the general title Old Intersections – Make it New.
5th YOUNG ARTISTS’ WORKSHOP: ROMANCE
The 5th Young Artists’ Workshop is part of the main programme of the 5th Thessaloniki Biennale of Contemporary Art. The title of the workshop, Romance, arises from an alternative reading of the main concept and primary theoretical underpinning of this year’s edition of the Biennale, which is based on Antonio Gramsci’s Prison Notebooks. The organisers’ rationale for the forthcoming Workshop attempts to revisit the political interpretation of this book and focuses on its multiple readings: on the writing which is a monologue by necessity, but nevertheless allows the writer’s cognitive faculties to break free from the prisoner’s role and routine; on romance, which is what defines people living and communicating with society under peculiar conditions; on romance as a trait to be found in every ideologue; on romance as a concept and a choice that is both genuinely personal and deeply political – especially when characterised by the ideological consistency demonstrated by thinkers like Gramsci. The defining characteristic of the Workshop also served as the selection criterion of participants: inclusiveness and diversity.
SYMPOSIUM: THE ROLE OF BIENNALES IN THE MEDITERRANEAN TODAY
The Mediterranean remains the topic of interest of the 5th edition of the Thessaloniki Biennale. Major events take place on a daily basis, constantly transforming a region that is afflicted by wars, uprisings, social upheaval, impoverishment as well as political and economic instability, with the burning issue of immigration taking centre stage. Organisers of the symposium “The Role of Biennales in the Mediterranean Today” have invited artists, directors and curators from other Biennale exhibitions across the Mediterranean – Northern Africa, the Middle East, and Europe. The Symposium will include a series of lectures, a roundtable and an open discussion, in an attempt to present the current state of affairs, the concerns and the initiatives needed in today’s volatile Mediterranean landscape, which is presently inauspicious for the arts and artistic expression. The ties amongst the institution of the Biennales and museums and universities, their multicultural and intercultural character, the presenting of the diverse roles of the “independent curator”, the artist and the director-manager, the turn of Biennales towards education, and the topics of urban marketing and city branding are among the issues that will be discussed and analysed at the Symposium on the history and development of Biennales and their current role in the Mediterranean.
ARTISTS IN THE MAIN EXHIBITION:
Can Altay & Jeremiah Day
Adelitha Husni Bey
David Brognon & Stéphanie Rollin
Erik Van Lieshout
Angela Melitopoulos & Angela Anderson
Meriç Algün Ringborg
4th THESSALONIKI PERFORMANCE FESTIVAL
The Thessaloniki Performance Festival, following the biennial rhythm of the Biennale, aspires to build and develop an open field of experimentation and a timely dialogue of communication and communion around the ephemeral practice of performance, by promoting and showcasing the latest body-based and experiential pursuits, helping establish the art of performance. The dialogue between artists and audiences, which has been a staple of all previous editions of the Festival, reveals the wide scope and interdisciplinary nature of the art of performance. On that basis, the works presented touch on a variety of issues and themes, reflect aesthetic diversity, record present-day socio-political issues and the personal conflicts of artists, take a critical look at the establishment and all forms of oppression, while also expressing the urgent necessity for the emergence of active and interventional communication. By stressing the interactive and subversive nature of performance and the great diversity of its disciplines, interpretations and approaches, artists are called upon to participate in a process of “live” exchange of views and ideas, articulating and sharing their experiences and stories. This convergence of the various disciplines, comprising performance’s conceptual substance, coexists with a declared desire to trace and investigate the role of performance artists and the essence of an art form that is shaped by and, in turn, helps shape socio-political processes.
Artists: Márcio Carvalho, Victoria Gray, Jonas Kocher – Dafni Stefanou – Janosch Perler- Ruedy Schwyn, Mischa Kuball, Carlos Martiel, Medie Megas, Rhiannon Morgan, Surabhi Saraf, SUKA OFF, Ulay
Opening concert: Harry Elektron & Rosita
Tributes/exhibitions: Leda Papaconstantinou, Ulay
Workshop: Yorgos Bakalos
Video performances/screenings: Cyprus International Performance Art Festival, Videoplay, Sofia Underground International Performance Art Festival
One-day conference: Actions and re-actions in the Greek artistic field. Research and concerns about performance art in Greece
Scientific coordination: Alexandra Antoniadou
Keynote speakers: Alexandra Antoniadou, Christiana Galanopoulou, Glafki Gotsi, Foteini Kalle, Areti Leopoulou, Costis Stafylakis, Irini Yeroyianni
Curation and coordination: Eirini Papakonstantinou
Chronis Pechlivanidis – A journey into the world of Sufism
The exhibition Chronis Pechlivanidis – A journey into the world of Sufism was originally presented by the Benaki Museum at Piraeus Street in Athens, from May 2 to July 27, 2014. In the context of the collaboration between the Benaki Museum and the Municipality of Thessaloniki, the exhibition will move on to the Ottoman monument, the Alatza Imaret, to introduce the audience of Thessaloniki to the mysticism of the East, its history and basic concepts. Islamic mysticism or Sufism is a spiritual movement within Islam. Sufism is an esoteric philosophy, a way of life, a spiritual path towards the divine, whose main purpose is the discovery of the truth and unification with God through love and devotion. It is an inexpressible experience that can only be felt through specific mystical practices. In that sense, mysticism is an esoteric movement found in many religions. One of the core practices of Sufism is the devotional act of remembrance (Zikr), in which short prayers or the names of God are repeatedly recited, often accompanied by music, helping the initiated transcend his individual ego and approach the divine. It is believed that mystical teachings and acts are still practised by a great number of Muslims in many parts of the Islamic world today. These practices differ depending on their origins, history and locality.
The event takes place:
22.05.15 – 20.09.15
91-93 Kassandrou St.
Τ: +30 2310 278587
Curator: Mina Moraitou
Efi Savvides – Transplantation
The works, divided into three sections, examine the concept of transplantation,that is, articulating a visual process of redefining, tracing and mapping in the Mediterranean basin, in relation to what one could call the collective, but also individual, identity.
Lost(hi)story: a photo archive featuring snapshots from Famagusta, dating back at least 40 years, briefly commented on by those pictured four decades later.
By the Gate: a photo archive of scenic designs set outside the homes of immigrants in modern day Nicosia.
Garden: an artistic book, in the form of a photographic herbarium, which captures the gradual growth of seven plants, the seeds of which were transplanted on “alien” soil by immigrants.
The event takes place:
23.06.15 – 31.08.15
180 Vas. Olgas St.
Τ: +30 2313 318538
Curator: Thalea Stefanidou
Sponsor: Cultural Services of the Ministry of Education and Culture, Cyprus
Anni Kaltsidou – Visual Intersections at Thessaloniki’s Roman Forum
In this, her third solo exhibition, Anni Kaltsidou enriches and develops her previous work. As in her earlier works, nature and materials play a crucial role, but in her new exhibition the artist endeavors to address a particular challenge: how to develop her work and adapt it to one of the most important archaeological sites of the city, situated right in the heart of the urban landscape. Deeply influenced by the archaeological and historical background of the area, Kaltsidou presents two works at Thessaloniki’s Roman Agora.
Her large installation at the Cryptroporticus is made of clay and ormolu (gilded bronze) leaves. The central part of the composition reveals a clay figure in the fetal position. The virtual steps formed by the suspended leaves of mosaic gold lead to the figure. We can see here the “duality” that characterizes the works of Kaltsidou: the earthy tones of the figure are contrasted with the unearthly (by virtue of its supernatural dimensions) gold surrounding it; the leaves, spread out as they are along the length of the portico, are contrasted with the huddled up body, their movement set against the immobility of the whole. The figure could be interpreted as a symbol of life, but also of death, with the steps surrounding the body alluding to the natural course of human life. The other parts of the archaeological site feature masks of people of various ages, who become one with the earth, denoting the ephemeral, and hence vulnerable aspect of human nature: the inescapable fact that no one can live forever. They acquire a double meaning, symbolizing the beginning and the end, joy and sorrow, the presence and parallel absence of human existence. The artist is not interested exclusively in the final work of art; instead, she insists on the importance of the creative processes, “planting” the faces and uniting them with the earth, thereby highlighting her attempt to connect human existence with nature. According to the artist herself, those faces allude to “human ruins”, identified with the faces of the people who once inhabited the area.
Past installations created by Kaltsidou – human figures, faces and body parts, made of clay, gold leaves, or grass – find their “natural” environment in the Roman Agora. One feels that the artist has finally discovered the perfect “host” for her work. Kaltsidou draws inspiration from childhood memories and visits to the city’s museums and monuments, which helped shape her dialectical relationship with elements of the ancient and Byzantine eras. The figure in fetal position, the steps, the faces, they all illustrate the course of the city and its inhabitants through the ages. The materials allude to the practical functions of the site: clay to the ceramic workshops of the Byzantine era, gold to the ultimate medium of exchange.
The performance brings “life” to the steps, the faces and the central figure of the installation. Young women are walking and singing in the different languages of the various communities of multicultural Thessaloniki. Eventually they reach the marble doors of the Odeon, where they stop and remain still, alluding to Las Incantadas (the “Enchanted ones”); in silence, the artist approaches them and places a black scarf next to each one, moving the audience visually, acoustically, kinetically and emotionally. The scene is ripe with allusions; Kaltsidou makes a comment about the “Enchanted Ones”, the monumental relief figures that used to decorate the general area of the Roman Agora until the 19th century and are still “violently expatriated” at the Louvre, condemning their loss and stressing the need for their repatriation, but she also comments more generally on multiculturalism and the co-existence of the different communities in Thessaloniki, and on the young Greeks forced to flee the country because of the crisis. The performance can be interpreted as a continuation of the artist’s “political” commentary, first articulated with her work Αρπαγή/Abduction(2014) – a metope inspired by the Parthenon sculptures, on which the artist had placed a black cloth, as a reminder of the loss and the mourning it entails.
Each element may be independent, but the different parts of the work are interconnected. The visitor, upon entering the archaeological grounds, is immediately grabbed by the visual stimuli of the modern works of art presented. Interpretation and meaning are left to the visitor: he or she may see them individually or as whole, or can interpret them as part of the city’s but also of his or her own history.
Through the presentation of the work and the correlations it gives birth to, the cultural heritage and history (the “old”) intersects with the new (the work of art created for the exhibition), aptly echoing the main message of the Thessaloniki Biennale of Contemporary Art: “Old Intersections – Make it New!”.
The event takes place:
24.06.15 – 16.08.15
Ancient Agora Square
Τ: +30 2310 221266
Curator: Dr. Maria D. Kagiadaki, Art Historian, Ephorate of Antiquities, Thessaloniki
1st International Symposium of Art Therapies: “Life and Art as One”
An open procedure that will be constantly enriched with the participation of the audience. We will examine and acquaint ourselves with the relationship between art and therapy and the possibility of developing a comprehensive dialogue between these two cognitive fields. Through a continuous process of discussion, elaboration and reflection on the theme of the Symposium we will, with the help of the invited experts-therapists, familiarize ourselves with the optimism of the will which will lay the foundations of life today, the ability of people through “art therapies” to express their concerns, anxieties, fears, so as to lose their ambiguity, and take on a specificform, thus allowing us to be able to deal with them in a better way. Life and art is one.
Thematic areas: art therapy, music therapy, drama therapy, dance/movement therapy, creative arts.18 – 20.09.15
Leof. Stratou Ave. & September 3rd St.
Curator: Elena Tonikidi
Organizer: PSYCHOLOGY-ART art-therapy School & Institute – Thessaloniki, member of the American Association Art Therapy & the British Association of Art Therapist
Nikos Panayotopoulos, Penelope Petsini – Aufarbeitung: The Wall
The series Aufarbeitung: The Wall is about the Berlin Wall twenty years after its fall. It is part of an extended photo project focusing on memoryscapes of the Cold War Era in Europe. Working through the past (Aufarbeitung der Vergangenheit), a catchphrase in the famous “historians’ feud”, coined by Adorno, refers to the process of revisiting historical events through an examination of often controversial material, which causes such profound embarrassment and heated conflicts, that some call it “the battle of memory”. After its fall in 1989, the Wall turned into a memorial with multiple–especially political– functions, becoming an international symbol and featuring prominently in mnemonic representations of the 20th century. From the rudimentary facilities and the colourful little flags flapping in the vast, empty spaces of the early 1990s, to the recent carefully constructed trails and official monuments, the Wall demonstrates that memory should not be conceived exclusively as binding us in some deep sense to past times but as mode of re–presentation and as belonging ever more to the present.
Nikos Panayotopoulos: Born in Athens, 1945. He studied photography in London (BA, Polytechnic of Central London 1974-77). He is a Doctor of Philosophy in Arts and Humanities (University of Derby, 2000-08). As an Advisor to the Minister of Culture, he has co-ordinated the institutional formation and reforms on photography in Greece (1994-2004). He wroteextensively on photographic theory and criticism and organized several photographic research projects, seminars, workshops, events & exhibitions. He has also been co-organizer and participant in several conferences. His photographic work has been exhibited and published in Greece and abroad. He joined the Photography Department of the Technological Educational Institution of Athens in 1986 from which he retired as a Professor of Art Photography in 2012. The last years he is affiliated with the Department of Visual and Applied Arts, University of Western Macedonia.
Penelope Petsini: Studied Photography in Athens and UK (University of London, Goldsmiths College –MA in Image and Communication; University of Derby –Phd) sponsored by the State Scholarship Foundation (I.K.Y.). She is a Doctor of Philosophy in Arts and Humanities, specialized in photography. Her research interests, both in terms of theory and practice, focus on photography and its relation to personal and collective memory, history and politics. She has exhibited and published extensively both in Greece and internationally. She has had affiliated appointments as lecturer of photography theory since 2004 (Department of Photography & Audiovisual Arts, TEI of Athens; School of Architecture, University of Patras). She’s currently the course leader of the Photography course of Life-Long Education Program, Department of Visual and Applied Arts, University of Western Macedonia.
The event takes place:
22.09.15 – 17.10.15
17 Leof. Nikis Ave.
T: +30 2310 222863
Curator: Hercules Papaioannou
Access to 5th Thessaloniki Biennale venues
(1) Alatza Imaret
91-93 Kassandrou St.
Τ: +30 2310278587
Buses No. 15, 23 – Aigli stop or alternatively walk towards the St. Dimitrios church, north to Aristotelous Square
*(2) Archaeological Museum of Thessaloniki
6th M. Andronikou St.
Τ: +30 2313 310 201, 2313 310 253, 2313 310 249
(3) Yeni Djami(ex Archaeological Museum)
30 Archaeological Museum St.
Τ: +30 2310 857978
Buses (Aristotelous Square stop on Mitropoleos st.) No. 5,6,33 – Sholi Tiflon stop
(4) Eirmos Gallery
17 Leof.Nikis Ave.
Τ: +30 2310 222863
Walk towards the southern part of Aristotelous Square
*(5) Thessaloniki City Hall Foyer and Water Hall
1 V.Georgiou Ave.
Τ: +30 2310 589141 & 143
(6) Casa Bianca
180 Vas. Olgas St.
Τ: +30 2313 318538
Buses (Aristotelous Square stop on Mitropoleos st.)Νο. 5,6,33 – Vafopouleio stop
(7) Contemporary Art Centre of Thessaloniki
WarehouseΒ1, Port of Thessaloniki
Τ: +30 2310 593270
Thessaloniki Port, A pier (Hellenic Red Cross entrance)
(8) State Museum of Contemporary Art
21 Kolokotroni St., Moni Lazariston
Τ: +30 2310589141 & 143
Buses No. 27,38,56 – Pavlou Mela stop/Νο. 34 – Moni Lazariston stop
*(9) Museum of Byzantine Culture
2 Leof. Stratou Ave.
Τ: 2313306400, 2313306422
*(10) Pavilion 6
Leof. Stratou Ave. & September 3rd str. (TIF-HELEXPO premises)
Τ: +30 2310589141 & 143
(11) Roman Forum
Ancient Agora Square
Τ: +30 2310 221266
Walk towards the northern part of Aristotelous Square
(12) Teloglion Foundation of Art AUTH
159A Agiou Dimitriou St.
Tue-Thu-Fri 18:00-21:00 / Wed 10:00-13:00 & 18:00-21:00 / Sat-Sun 11:00-14:00
Τ: +30 2310247111, 2310991610
Bus (Platia Eleftherias Square stop)Νο. 15 – Georgiou Viziinou stop
* These venues are all situated in the same area at the center of Thessaloniki, at the region of the White Tower and the YMCA Square (see map)