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"Maybe everyone forgot about it"
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Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
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During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

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"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

.

"Maybe everyone forgot about it"
.
Dimitris Kontodimos x Riccardo Vitali
.
( @dim_kontodimos x @errevit ).
.
.
During a previous occupation of the space, the industrial floor began to yield, peeling back to expose what lay beneath, an Athenian mosaic, a fragment of the city’s architectural memory embedded in the ground. What the floor revealed was not merely a decorative remnant, but a meditation on what cities conceal and what they involuntarily preserve.
The works presented here engage with this tension between the visible and the buried, the contemporary and the archaeological, the infrastructure of the present and the sediment of the past.
.
initiated by @_osterak
.
Photos by @frankholbein

'maybe everyone forgot about it'

Opening 28/03/2026 19.00

Open Wednesday to Sunday 05/04/2026 -- 17.00-21.00h

Dimitris Kontodimos x Ricardo Vitali
@dim_kontodimos x @errevit

VirginiasMpenaki 23, Metaxourgheio 10436 Athens

“Contemporary architecture does not aspire to eternity, but rather to the
present, understood as an unsurpassable moment in time. The objective
is not the perpetuation of a dream in a state of permanence, but rather
the establishment of a condition in the present that is subject to constant
replacement and infinite renewal.” (a concept derived from Marc Augé)
Installation view, 2025

Part of: We were always here @livingroomathens as part of the @acollectiveofcollectives festival

Including: @nadja_geer @nikolettageorgakopoulou @_osterak @audunnaudunnaudunnaudunnaudunn @daphnis______ @lesugarmorehoney @errevit @zarifopoulos

Curators @nikolettageorgakopoulou & @audunnaudunnaudunnaudunnaudunn

Photo credit: @frankholbein

“Contemporary architecture does not aspire to eternity, but rather to the
present, understood as an unsurpassable moment in time. The objective
is not the perpetuation of a dream in a state of permanence, but rather
the establishment of a condition in the present that is subject to constant
replacement and infinite renewal.” (a concept derived from Marc Augé)
Installation view, 2025

Part of: We were always here @livingroomathens as part of the @acollectiveofcollectives festival

Including: @nadja_geer @nikolettageorgakopoulou @_osterak @audunnaudunnaudunnaudunnaudunn @daphnis______ @lesugarmorehoney @errevit @zarifopoulos

Curators @nikolettageorgakopoulou & @audunnaudunnaudunnaudunnaudunn

Photo credit: @frankholbein

“Contemporary architecture does not aspire to eternity, but rather to the
present, understood as an unsurpassable moment in time. The objective
is not the perpetuation of a dream in a state of permanence, but rather
the establishment of a condition in the present that is subject to constant
replacement and infinite renewal.” (a concept derived from Marc Augé)
Installation view, 2025

Part of: We were always here @livingroomathens as part of the @acollectiveofcollectives festival

Including: @nadja_geer @nikolettageorgakopoulou @_osterak @audunnaudunnaudunnaudunnaudunn @daphnis______ @lesugarmorehoney @errevit @zarifopoulos

Curators @nikolettageorgakopoulou & @audunnaudunnaudunnaudunnaudunn

Photo credit: @frankholbein

“Contemporary architecture does not aspire to eternity, but rather to the
present, understood as an unsurpassable moment in time. The objective
is not the perpetuation of a dream in a state of permanence, but rather
the establishment of a condition in the present that is subject to constant
replacement and infinite renewal.” (a concept derived from Marc Augé)
Installation view, 2025

Part of: We were always here @livingroomathens as part of the @acollectiveofcollectives festival

Including: @nadja_geer @nikolettageorgakopoulou @_osterak @audunnaudunnaudunnaudunnaudunn @daphnis______ @lesugarmorehoney @errevit @zarifopoulos

Curators @nikolettageorgakopoulou & @audunnaudunnaudunnaudunnaudunn

Photo credit: @frankholbein

“Contemporary architecture does not aspire to eternity, but rather to the
present, understood as an unsurpassable moment in time. The objective
is not the perpetuation of a dream in a state of permanence, but rather
the establishment of a condition in the present that is subject to constant
replacement and infinite renewal.” (a concept derived from Marc Augé)
Installation view, 2025

Part of: We were always here @livingroomathens as part of the @acollectiveofcollectives festival

Including: @nadja_geer @nikolettageorgakopoulou @_osterak @audunnaudunnaudunnaudunnaudunn @daphnis______ @lesugarmorehoney @errevit @zarifopoulos

Curators @nikolettageorgakopoulou & @audunnaudunnaudunnaudunnaudunn

Photo credit: @frankholbein

“Contemporary architecture does not aspire to eternity, but rather to the
present, understood as an unsurpassable moment in time. The objective
is not the perpetuation of a dream in a state of permanence, but rather
the establishment of a condition in the present that is subject to constant
replacement and infinite renewal.” (a concept derived from Marc Augé)
Installation view, 2025

Part of: We were always here @livingroomathens as part of the @acollectiveofcollectives festival

Including: @nadja_geer @nikolettageorgakopoulou @_osterak @audunnaudunnaudunnaudunnaudunn @daphnis______ @lesugarmorehoney @errevit @zarifopoulos

Curators @nikolettageorgakopoulou & @audunnaudunnaudunnaudunnaudunn

Photo credit: @frankholbein

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

- ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω \ mentre stavamo camminando abbiamo deciso di tornare indietro \ while we were walking we decided to go back

Installation by Riccardo Vitali and Panagiota Antonopoulou
Kouiasa art space
Damareos 36
Athens
2025

-Entering the space, the viewer is immersed in an unknown landscape. A room made of semi-transparent fabric surrounds an environment that is both defined and indefinite. Inside, sand covers various objects scattered around the room, and above, a circular object resembling the sun fluctuates, while the entire space is illuminated with intense, colourful lighting.
Together, these elements create a desolate environment that could exist anywhere in space and time - now it’s hidden in a basement, in a place that no one can find.
The installation acts as a metaphor of the anthropic environment. Walking through an urban landscape full of contradictions, we collect images that later turn into memories. Using these memories as a tool, we create our own subjective representation of this experience.
In this environment, the light with the ‘sun’ and the fabric create an atmospheric, ephemeral feeling, while conversely the presence of the objects and the sand introduce a materiality that is structural, solid and heavy.

.
"while we were walking we decided to go back"

Εγκαίνια έκθεσης: Πέμπτη 10/4/24
Διάρκεια: 10-13 Απριλίου
Πέμπτη/Παρασκευή~ 18.00-22.00
Σάββατο/Κυριακή~ 17.00-22.00

...

Opening: Thursday 10/4/24
Duration: 10-13 of April
Thursday/Friday ~ 18.00-22.00
Saturday/Sunday ~17.00-22.00

@pan_antonopoulou, @errevit

-ενώ περπατούσαμε αποφασίσαμε να γυρίσουμε πίσω
-mentre stavamo camminando abbiamo deciso di tornare indietro
-while we were walking we decided to go back

opening 10/04
untill 13/04
damareos 36, athens

text TBA

Experiment #3
Plastic box and beer bottles
2024

Experiment #3
Plastic box and beer bottles
2024

Experiment #3
Plastic box and beer bottles
2024

Experiment #3
Plastic box and beer bottles
2024

Experiment #3
Plastic box and beer bottles
2024

7 Kapsali & 132 3is Septemviou
Oil, scratches, and enamel on wood board
37 x 52 cm
2024

7 Kapsali & 132 3is Septemviou
Oil, scratches, and enamel on wood board
37 x 52 cm
2024

7 Kapsali & 132 3is Septemviou
Oil, scratches, and enamel on wood board
37 x 52 cm
2024

7 Kapsali & 132 3is Septemviou
Oil, scratches, and enamel on wood board
37 x 52 cm
2024

7 Kapsali & 132 3is Septemviou
Oil, scratches, and enamel on wood board
37 x 52 cm
2024

7 Kapsali & 132 3is Septemviou
Oil, scratches, and enamel on wood board
37 x 52 cm
2024

7 Kapsali & 132 3is Septemviou
Oil, scratches, and enamel on wood board
37 x 52 cm
2024

Experiment #2
Oil on canvas with wooden pallet

Experiment #2
Oil on canvas with wooden pallet

Experiment #2
Oil on canvas with wooden pallet

Experiment #2
Oil on canvas with wooden pallet

Taking as a starting point Joseph Beuys Blackboards (“Four Blackboards”, 1972 / “Untitled (Sunstate)”, 1974 etc.) the live-action aims to interact, both visually and conceptually, with notions mixing them with our artistic practices.
By using chalk, the medium of Beuys’ lectures/performances, in reverse, the showcase of the studio becomes a whiteboard, in order to engage playfully with key concepts that appear in Beuys’ blackboards.
By scratching the glass, fragments of the studio’s interior are made visible, providing a new layer to the narrative and establishing a connection between the flat surface of the glass and the inside space.

The live-act will start at 20:30, on 19/05 Damareos 36, Pangkrati.

Last pic:
Joseph Beuys, Untitled (Sun State), 1974
MOMA, NYC

Taking as a starting point Joseph Beuys Blackboards (“Four Blackboards”, 1972 / “Untitled (Sunstate)”, 1974 etc.) the live-action aims to interact, both visually and conceptually, with notions mixing them with our artistic practices.
By using chalk, the medium of Beuys’ lectures/performances, in reverse, the showcase of the studio becomes a whiteboard, in order to engage playfully with key concepts that appear in Beuys’ blackboards.
By scratching the glass, fragments of the studio’s interior are made visible, providing a new layer to the narrative and establishing a connection between the flat surface of the glass and the inside space.

The live-act will start at 20:30, on 19/05 Damareos 36, Pangkrati.

Last pic:
Joseph Beuys, Untitled (Sun State), 1974
MOMA, NYC

Taking as a starting point Joseph Beuys Blackboards (“Four Blackboards”, 1972 / “Untitled (Sunstate)”, 1974 etc.) the live-action aims to interact, both visually and conceptually, with notions mixing them with our artistic practices.
By using chalk, the medium of Beuys’ lectures/performances, in reverse, the showcase of the studio becomes a whiteboard, in order to engage playfully with key concepts that appear in Beuys’ blackboards.
By scratching the glass, fragments of the studio’s interior are made visible, providing a new layer to the narrative and establishing a connection between the flat surface of the glass and the inside space.

The live-act will start at 20:30, on 19/05 Damareos 36, Pangkrati.

Last pic:
Joseph Beuys, Untitled (Sun State), 1974
MOMA, NYC

Experiment #1
77 Beer Bottles
2024

Experiment #1
77 Beer Bottles
2024

Experiment #1
77 Beer Bottles
2024

Experiment #1
77 Beer Bottles
2024

Experiment #1
77 Beer Bottles
2024

Experiment #1
77 Beer Bottles
2024