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La ‘falla’ más contemporánea arde en Alemania

‘los desastres de la guerra’

Carlos Garsán

27/06/2017 – Valencia Plaza

VALÈNCIA. Cuando se anunció que el gran evento de arte contemporáneo Documenta 14, que tiene lugar cada cinco años en Kassel (Alemania), iba a contar con una falla (sí, una falla) pocos imaginaban de qué manera se iba a dar forma a la idea. Con el objetivo de “coger un instrumento enclavado en la cultura popular valenciana y sacarlo de contexto para que todo el mundo pueda apreciarlo, aunque no lo comprenda”, el artista Daniel García Andújar ha llevado a la ciudad alemana su proyecto Los desastres de la guerra, una suerte de falla que ya ha sido consumida por el fuego. El llamado “anti-monumento” busca trasladar el espíritu de la fiesta a una de las citas más destacadas del ámbito del arte contemporáneo internacional, un pieza realizada en colaboración con el artista fallero Manolo Martín.

Como parte de un proyecto mayor, García Andújar construyó la pieza ‘Caballo de Troya’ como obra principal de su exposición en Kassel, una construcción de cinco metros de altura que representa una escultura clásica griega que ha sido levantada utilizando las técnicas de los monumentos falleros de los años 30: sin plásticos, ni fibras de vidrio; solo papel y madera. La particular cremà de la ‘falla’ fue la culminación de todo un ritual que tuvo su punto de partida a las 20 horas del pasado sábado, cuando la galería de arte contemporáneo Neue Neue Galerie, que acoge la pieza, cerró sus puertas. Entonces el público pudo ser participe del desmontaje de la obra, que fue trasladada por las calles de la ciudad a modo de peregrinación, acompañados por dos grupos de tabal y dolçaina escoltados por la policía.

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¿Quemar el canon?

María Dolores Jiménez-Blanco

26 Mayo 2017

Hace más de 100 años, el 20 de febrero de 1909, los futuristas irrumpían en el tranquilo desayuno de los parisinos afirmando en el diario Le Figaro que querían “démolir les musées, les bibliothèques…”. Los museos, como los cementerios, admitían los futuristas, podían visitarse una vez al año para recordar a los muertos, incluso podía estar bien dejarle flores a la Gioconda, pero NADA de pasearse por allí cotidianamente para consolar inquietudes o tristezas. Si demoliésemos los museos, como decían Marinetti y sus amigos, nos evitaríamos muchos latazos, incluyendo el de tener que rendirle culto al canon, incluyendo el de admirar la pieza canónica por excelencia, la Gioconda. No pudieron evitarlo: a los futuristas se les escapó que, a pesar de todo, les encantaba la Mona Lisa ¡aunque lo disfrazasen de ironía hablando de honrar la tumba de un antepasado!

Es posible que Marinetti y sus amigos futuristas no sean la mejor compañía: odiaban a las mujeres, admiraban la violencia y hablaban de la guerra como “higiene del mundo”, y además lo decían abiertamente en el mismo escrito publicado en Le Figaro 1909. Desde luego estaban hechos un lío: ¿nada de museos, pero respeto a la Gioconda? ¿Demoler los museos pero honrar el canon? De ese texto de 1909 aprendemos dos cosas: la primera es que en el supuesto epicentro original de la modernidad, en el París de las vanguardias y en año en que supuestamente Picasso y Braque “inventan” el cubismo que con los años serviría de base para configurar el canon de lo moderno, hay quien quiere ir contra las instituciones canonizadoras: el museo y la biblioteca. Y la segunda es que, entonces y ahora, parece que la clave está en qué demoler y qué adorar, en qué quemar como un trasto viejo en una falla, y qué salvar para poner en una tumba, en un trono o en un altar, según los gustos de cada uno. Al final ¡incluso los que afirman agresivamente querer acabar con los museos están proponiendo un canon!

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Daniel García Andújar. Documenta 14

Documenta 14

Daniel García Andújar
(b. 1966, Almoradi, Spain)

Daniel García Andújar
(geb. 1966, Almoradi, Spanien)
The Disasters of War – Trojan Horse (2017)
Installation mit verschiedenen Materialien
Maße variabel

The Disasters of War, Metics Akademia (2017)

Mixed-media installation
Dimensions variable
EMST—National Museum of Contemporary Art, Athens

The Disasters of War/Trojan Horse (2017)
Mixed-media installation
Dimensions variable
Neue Neue Galerie (Neue Hauptpost), Kassel

Burning the Canon
Nordstadt Park Kassel
June 23
Nordstadt Park
23rd June, 2017
From 20:00 (burning 23h aprox.)

The Trojan Horse sculpture has been conceived as anti-monument reflecting on the “night games of war” (Reichs Veterans Day, Kassel, June 4 1939) developed in Germany during the Nazi period. The sculpture has been created by the artist with the aid of a software working with an aleatory combination of body types and then materially constructed by Taller Manolo Martín, a team of traditional craftsmen who produce Valencia’s Fallas puppets in Spain to be burned. Following this ritual, the sculpture will also be burn during the night of Saint John (also known as Jani, Adonia, Midsommar, Ivan Kupala Day, Juhannus Mittumari, etc.) as part of a pagan celebration aimed at letting go of what is no longer needed and saving what has to remain.

Open Fire Party with:
Daniel G. Andújar
Manolo Martín
Crier/performance by Daniel Cremer based in a text from María Dolores Jiménez-Blanco (Burn the canon?)
Dolçaines by Cristina Martí Morell & Francesc Xavier Richart Peris
Percussion by Pablo Lluis Llorca
Pyrotechnics and fire by Fire, Ice and Magic
Production by Carlota Gómez & Jorgina Stamogianni
Curated by Paul B. Preciado

The Disasters of War/Trojan Horse (2017)
The Disasters of the War, Trojan Horse is a series of 82 “artifacts” constituting the second part of a project that started in Athens. The project itself travels hidden inside of a Trojan horse. These series evoke 82 engravings created by Spanish painter Francisco Goya (1746-1828) between 1810 and 1820 secretly criticizing the violence deployed against the population during the wars between the Napoleonian Empire and Spain. Bringing Goya to the 3-D printer era, the project reflects on the politics of war, but also on the way war can continue through means of economic, cultural, and visual domination. Many wars are thus narrated here, in an attempt to resist its many forms of violence and explore strategies of visual and performative resistance. The project unfolds in different formats: an installation, a workshop, a performance, and a public action.

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De la Ciutat Fallera a la cumbre del arte contemporáneo con Daniel G. Andújar

El alicantino es uno de los participantes de la próxima edición de Documenta, que se celebrará en 2017 entre Kassel y Atenas – Su proyecto contará con artistas falleros y reflexionará sobre el espacio público, a cuenta de la fiesta valenciana

Álex Zahinos | Valencia 13.11.2016 | Levante EMV

En abril arrancará Documenta 14, cien días que concentran cinco años y un centenar de artistas de arte contemporáneo en Kassel, Alemania. «Bajo del nombre de Kassel podría poner ´esta es la ciudad de Documenta´», recuerda Daniel García Andújar (Almoradí, 1966) sobre un evento por el que pasarán un millón de visitantes. Él es uno de los elegidos de la próxima edición.

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Daniel G. Andújar: Goya fue un activista absoluto

Concha Tejedor.19/09/2016 11:22

Madrid, 19 sep (EFE).- El artista y activista Daniel G. Andújar, seleccionado para la próxima Documenta de Kassel, defiende que el arte puede crear espacios de resistencia frente a un mundo cada más estandarizado. “Goya fue un activista absoluto”, ha manifestado a Efe ante la exposición de su última obra en una galería.

Después de la retrospectiva el año pasado en el Museo Reina Sofía, Daniel G. Andujar, uno de los mayores representantes en España del llamado “Arte en la Red” que trabaja reutilizando imágenes de internet, presenta en la Galería Casa sin fin hasta el 12 de noviembre su pieza “Trastorno de identidad. Hackeando el cuerpo de los trabajadores. Atlas 01, 2016”.

Encontramos un panel de imágenes con pedazos del cuerpo humano, un ejercicio de resistencia para “protegernos de un mundo cada vez más controlado, en el que se está perdiendo la heterogeneidad y se están reduciendo los conceptos”.

“Muchos artistas -dice sobre el debate de arte y política- han sido activistas. Goya es el primer artista moderno europeo en ese sentido de romper márgenes. Está hablando todo el tiempo, incluso en su obra como pintor de corte, de algo que es una actitud política, que no tiene nada que ver con que sea panfletaria, que es muy diferente. Se trata de algo muy contemporáneo, generar espacios de resistencia, que son espacios de libertad”.

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El cuerpo como campo de batalla

Daniel G. Andújar inaugura el nuevo espacio de la galería Casa sin Fin y prepara su presencia en Documenta 14

Daniel G. Andújar, junto a su obra Trastorno de identidad. JAIME VILLANUEVA

“¿No estamos llegando a un sistema de representación absolutamente fascista, donde todo el mundo es exactamente igual? ¿No estamos llegando a esas utopías de ciencia-ficción donde todo es estandarizado y controlado? Ya no por máquinas, sino por nosotros mismos. De alguna manera, estamos construyendo un edificio en el que luego en realidad no nos gusta vivir”. Así habla el artista Daniel G. Andújar (Almoradí, 1966), y de esto habla su último trabajo, Trastorno de identidad. Hackeando el cuerpo de los trabajadores, la pieza con la que la madrileña galería Casa sin Fin inaugura su nuevo espacio (Doctor Fourquet, 8).
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Opening of the first public venue and the Public Programs of documenta 14

34 EXERCISES OF FREEDOM

September 14­–24, 2016 at Parko Eleftherias
Athens Municipality Arts Center

You are invited to be part of the Parliament of Bodies documenta 14 public program, hosted in the Athens Municipality Arts Center at Parko Eleftherias in September 2016. What will happen here during ten days of programming is neither a conference nor an exhibition.

We have avoided conventional museological names that establish distinctions between talk and performance, theory and action, criticism and art. Instead, we invited forty-five participants to “exercise freedom” within the building, which, not long ago, served as the headquarters of the military police during the dictatorship years. We understand freedom, with Foucault, as neither an individual property nor a natural right, but rather as a practice. We drift in history. There is a space. There are some bodies. There are some voices. But what does it mean to be together, here, now? What can be done? Who and what are made visible? Whose voices can be heard and which remain silent? How can the public sphere be reorganized?

In the Parliament of Bodies, you will find neither individual chairs within the building nor a fixed architecture. We avoid positioning the audience as aesthetic visitors or neoliberal consumers. We also reject the democratic fiction of the semicircular amphitheater. We claim—with Oskar Hansen—the political potential of the “open form.” Andreas Angelidakis’s soft architecture consisting of sixty-eight blocks of ruins (the ruins of a democratic parliament?) can be assembled and re-arranged in endless ways, creating multiple and transient architectures for the Parliament of Bodies. You are invited to actively construct this political theater every day, interrogating location, hierarchy, visibility, scale…

The 34 Exercises of Freedom aim to write a queer anticolonial symphony of Europe from the 1960s, scripting dialogue and giving visibility to dissident, heterogeneous, and minor narratives. We start by bringing together the radical left tradition with the anti-colonial fight for sovereignty of indigenous movements within Europe. The voice of Antonio Negri­­—one of the founders of the Potere Operaio (Workers’ Power) group in 1969 and member of Autonomia Operaia in Italy—meets the voice of Niillas Somby—the political rights activist fighting for Sámi sovereignty in the north of Norway. Both were accused of different forms of terrorism during the 1970s.

Sidestepping the established opposition of dictatorship and democracy, we try to understand the failures of transitioning to democracy within neoliberal regimes, not only in the case of Greece but also in Spain, Argentina, or Chile: how freedom was misunderstood as the free market. Whereas the 1980s are often portrayed as a time of decline for social emancipation movements, one that heralded the arrival of a new democratic consensus within capitalism—replacing ideological opposition with economic growth—anticolonial, feminist, queer, and anti-AIDS fights started to point out the cracks within western hegemonic discourse. Might it be possible to think the Greek notion of eleftheria (freedom) against the capitalist notion of freedom? Progressively during this ten-day dialogue we aim to introduce contemporary languages of resistance, from the Kurdish revolution in Rojava to the queer, transgender, sex-workers’, and migrant voices in Turkey, Greece, Mexico, or Brazil, from contemporary indigenous fights for restitution to new political and artistic practices dedicated to invent new forms of affect, knowledge, and political subjectivity, such as ecosex, queer-indigenism, and radical performativity. Together they draw a different political and poetic map of Europe than the one designed by the European Union.

Participants:
Adespotes Skiles, AMOQA (Athens Museum of Queer Arts), Andreas Angelidakis, Anna Apostolelli, Contemporary Social History Archives (ASKI), Hawzhin Azeez, Angela Brouskou, Rüzgâr Buşki, Clémentine Deliss, Linnea Dick, Maria F. Dolores, Theatro Domatiou, Bonita Ely, Panayotis Evangelidis, Daniel García Andújar, Macarena Gómez-Barris, Stathis Gourgouris, Irena Haiduk, Jack Halberstam, Candice Hopkins, Regina José Galindo, Chief Robert Joseph, Nelli Kampouri, Vangelis Karamanolakis, Kostis Karpozilos, Kostis Kornetis, Sevval Kılıç, Katerina Labrinou, Quinn Latimer, Prasini Lesvia, Ana Longoni, MiniMaximum ImproVision, Naeem Mohaiemen, Antonio Negri, Gizem Oruç, Neni Panourgía, Anna Papaeti, Jørgen Flindt Pedersen, Paul B. Preciado, Judith Revel, Tasos Sakellaropoulos, Georgia Sagri, Niillas Somby, Annie Sprinkle and Beth Stephens, Erik Stephensen, Adam Szymczyk, Diana Taylor, Prodromos Tsinikoris, Margarita Tsomou, Eirini Vakalopoulou, Ioanna Vogli, Tina Voreadi, Pantelis Voulgaris, and Sergio Zevallos

 

***

DEMOS is a space that materially and formally references two extremes of a spectrum that have been constitutive for the construction of Athens. On the one end of the spectrum are the ancient stone steps on the hill Pnyx, a modular typology and meeting place that can be said to have initiated the formation of democracy. On the other end you might find the modernist reinforced concrete frame, an architectural module used to democratize the way Athens was built. The steps on the Pnyx, along with most ancient Greek architecture, were borrowed by the world to form a global typology of spaces of authority such as parliaments, libraries, and courthouses. The reinforced concrete frame, which Greece borrowed from a modernized Europe, represents the anarchic, unauthorized construction that grew to define the Athens we witness today.

While the building inhabited by documenta 14 housed the military police headquarters during the reign of the junta, the building behind it was used as a detention and torture facility. Currently it houses the Museum of Anti-dictatorial and Democratic Resistance, which is operated by the Association of Imprisoned and Exiled Resistance Fighters (1967–1974). The building allocated to documenta 14 has been used in recent years as an art venue and public gallery run by the Municipality of Athens. The building is treated as a historical artifact: as the site where democracy reached its lowest point in contemporary Greek history. As the DEMOS modules, inhabited by the Parliament of Bodies, negotiate the parameters of the Public Programs, the building launches into an investigative renovation of its own history. The practical demands of the program, such as the sourcing of natural light and technical repairs to the building, become part of an archaeological process, as the layers of exhibition architecture are peeled away to uncover past identities of the space.

DEMOS creates a space as a programmable device with which to negotiate the relation between stage and audience, between performer and participant, between democracy and freedom. Each variation will be a demo for the Parliament of Bodies. Each demo will be “demolished” to make way for the next DEMOS. As the Public Program of d14 unfolds over time, the modules gradually form a language, each variation of the space a new definition of demos (Δήμος).

—Andreas Angelidakis

 

***

34 EXERCISES OF FREEDOM
Program, September 14–24, 2016

 

Wednesday September 14 (7–11 pm)

Introduction by

Adam Szymczyk, artistic director, documenta14
Paul B. Preciado, curator of Public Programs, documenta 14
Andreas Angelidakis, architect/artist

DEMOCRACY IS NOT FREEDOM. FREEDOM IS A PRACTICE

Exercises:

#1. Chief Robert Joseph, hereditary chief of the Gwawaenuk First Nation, ambassador for Reconciliation Canada, and a member of the Assembly of First Nations Elders Council, and Linnea Dick, writer, painter, and ceremonialist of Kawakwaka’wakw, Nisga’a and Tsimshian heritage

#2. Antonio Negri, political theorist and philosopher

#3. Niillas Somby, Sámi political rights activist, journalist, videographer, and photographer

#4. Educación cívica / Civic Education

Sergio Zevallos, artist

 

Thursday September 15 (7–11 pm)

DEMOCRATIC TRANSITIONS… INTO NEOLIBERALISM

Exercises:

#5. Freedom as Market Value. Freedom as Practice of Resistance
Judith Revel, philosophy professor, Université Paris Ouest Nanterre La Défense and member of the scientific committee of the Centre Michel Foucault

#6. Memory under Construction: Towards a Public Memory of Torture in Greece
Kostis Kornetis, UC3M CONEX-Marie Curie Fellow at the Department of History, Carlos III University, Madrid

#7. Your Neighbor’s Son: The Making of a Torturer, Jørgen Flindt Pedersen and Erik Stephensen, Denmark, 1981, 52 min
Film screening

#8. Soundscapes of Detention: Music and Torture under the Junta (1967–74)
Anna Papaeti, independent researcher and musicologist

#9. Between Terror and Revelry. Collective Strategies of Resistance during Dictatorships in Argentina and Brazil
Ana Longoni, writer, curator, and professor of Art History, Universidad de Buenos Aires

#10. DJ set
Lies van Born, DJ

 

Friday September 16 (5:45–11 pm)

Εxercises:

#11. Torture and Freedom Tour of Athens
(5:45–8:45 pm)
Collective walk through the city of Athens exploring the historical traces of oppression, violence, and the quest for freedom during the military dictatorship of 1967–74

Tour in Greek
Starting point: 5:45 pm at Polytechnion by the Tositsa Street entrance
Ending point: Parko Eleftherias
Τhe Greek tour is conducted by Vangelis Karamanolakis (historian, University of Athens) and Tasos Sakellaropoulos (historian, head of the Historical Archives, Benaki Museum, Athens)

Tour in English
Starting point: 6:15 pm at Polytechnion by the Tositsa Street entrance
Ending point: Parko Eleftherias
The English tour is conducted by Kostis Karpozilos (historian, director of the Contemporary Social History Archives–ASKI, Athens) and Katerina Labrinou (historian, Panteion University, Athens)

Meanwhile at the Athens Municipality Art Center, Parko Eleftherias:

#12. The Chronicle of the Dictatorship (1967–74), Pantelis Voulgaris, Greece, 37 min
Film screening

Εpitaph for Democracy
(9:30–11 pm)

#13. Epitafios II
Angela Brouskou – Theatro Domatiou, theater group and MiniMaximum ImproVision, improvisational group of musicians

 

Saturday September 17 (7 pm)–Sunday, September 18 (10 pm)

ARCHITECTURES OF TERROR, VOICES OF RESISTANCE

Exercises:

#14. Ojo de gusano: Don’t Look Down
Regina José Galindo, artist

#15. Chronotopes / Dystopic Geometries / Terrifying Geographies
Neni Panourgia, anthropologist, visiting associate professor of Anthropology at the New School for Social Research, New York

#16. Lingua Tertii Imperii
Daniel García Andújar, artist

#17. Red Star, Crescent Moon / after Sohail Daulatzai
Naeem Mohaiemen, artist

#18. This is not the Place. Four Visits to Villa Grimaldi: A Chilean Center for Torture and Detention 
Diana Taylor, professor of Performance Studies and Spanish at New York University

#19. Attempt. Come
Georgia Sagri, artist

Note: Visitors can bring along sleeping bags, comfortable clothes, food, and water and may stay in the space for the twenty-four-hour duration of the piece. Smoking is not permitted. A public discussion with Georgia Sagri will follow the completion of the performance on Sunday night.

 

Tuesday September 20 (7–11 pm)

SILENCE AND MASKS
South as a State of Mind #7 [documenta 14 #2]

Exercises:

#20. Transgressive Listening
Stathis Gourgouris, professor at the Institute for Comparative Literature and Society at Columbia University, New York

#21. Outlawed Social Life
Candice Hopkins, citizen of Carcross/Tagish First Nation, is an independent curator, writer, and curatorial advisor for documenta 14 based in Albuquerque, New Mexico

#22. I Owe You Everything
Clémentine Deliss, writer and curator, currently curating the Dilijan Art Initiative in Armenia. First act of giving in the series I Owe You Everything, in the presence of Chief Robert Joseph and Linnea Dick

I Owe You Everything is a project that chooses and follows a series of contemporary thinkers, poets, and activists who are invited to construct a public “act of giving,” a critical and poetic ritual, in which they give “everything” to the Parliament of Bodies of documenta 14. The acts of giving explore different cultural and political economies such as debt, gift, potlatch, revenge, retribution, promise…

 

Wednesday September 21 (5–7 pm)

STATE VIOLENCE / DOMESTIC VIOLENCE

Exercise:

#23. Interior Effects as an Outcome of War
Workshop with Bonita Ely, artist

You are invited to join artist Bonita Ely in a workshop to discuss the ongoing, inter-generational effects of undiagnosed, untreated posttraumatic stress disorder (PTSD) suffered by family members of returned soldiers. During the workshop, Ely shares her family’s experiences following her father’s return home after the Second World War. The artist has made these often tragic effects of undiagnosed PTSD the focus of her artistic work. Open to up to 20 participants, register at: program@documenta.de.

 

Thursday September 22 (7–10 pm)
THE VIRAL 1980S: DEMOCRACY, NEOLIBERALISM, AIDS

Exercise:

#24. They Glow in the Dark, Panayotis Evangelidis, Greece, 2013, 69 min,
Film screening and discussion with director Panayotis Evangelidis

 

Friday September 23 (7–11 pm)
POST-PORN ACTIVISM AND ECOSEXUAL FREEDOM

Exercises:

#25. An Evening with Annie Sprinkle and Beth Stephens and Wet Dreams Water Ritual
Annie Sprinkle, activist, artist, and educator and Beth Stephens, ecosexual performance artist, filmmaker, activist, educator, founding director of the E.A.R.T.H. Lab and professor of Art, University of California, Santa Cruz. Together they authored the Ecosex Manifesto.

Note: Please bring some water from your home or town/city for the water ritual. Wear the colors of water; aqua, blue, and black. Be costumed, naked, painted, adorned, or as you like.

#26. The Waltz of the Dirty Streets
Adespotes Skiles, self-organized music and theater collective

 

Saturday September 24 (7–11 pm)
“APARTIDE” TRANSFEMINIST QUEER NIGHT

Exercises:

Organized in collaboration with AMOQA (Athens Museum of Queer Arts)

#27. Decolonizing Memory: Vita Futurities in the Americas
Macarena Gómez-Barris, chair of the Department of Social Science and Cultural Studies at Pratt Institute, New York

#28. Rojava’s Feminist Revolution
Hawzhin Azeez, political theorist and activist, Kurd from south Kurdistan (northern Iraq)

#29. Trans*: Bodies and Power in the Age of Transgenderism
Jack Halberstam, visiting professor of English and Comparative Literature and Gender Studies at Columbia University, New York

#30. #Direnayol (#Resistayol), documentary by Rüzgâr Buşki, Turkey, 2016, 60 min
Film premiere

#31.Voices of Trans and Queer Politics in the Mediterranean with:
Rüzgâr Buşki, multimedia artist and producer, member of Kanka Productions
Gizem Oruç, musician, producer, and multimedia artist, member of Kanka Productions
Şevval Kılıç, sex worker, queer and trans activist working in Istanbul
Nelli Kampouri, gender scholar, Centre for Gender Studies, Panteion University Athens
Margarita Tsomou, author, publisher, dramaturge, and curator based in Berlin
Maria Mitsopoulou aka Maria F. Dolores, visual artist and performer, AMOQA (Athens Museum of Queer Arts)
Anna Apostolelli, activist, currently a member of Beaver, a women’s co-op café in Athens, AMOQA (Athens Museum of Queer Arts)
Tina Voreadi, visual artist and educator, AMOQA (Athens Museum of Queer Arts)

#32. Queer Indie Gig Exercise of FreedomHTH Green to Blue Shock Treatment
Prasini Lesvia, musician

#33. DJ set
Gizem Oruç, musician

#34. The Epic of Eleftheria
Irena Haiduk, artist and Eirini Vakalopoulou, writer and poet

 

 

General dramaturgy for the Exercises of Freedom: Prodromos Tsinikoris, artistic co-director of Experimental Stage -1 of the National Theatre, Athens.

 

Image: Athens Municipality Arts Center Parko Eleftherias
DEMOS, Andreas Angelidakis, installation, 2016, dimensions variable. Photo: Stathis Mamalakis

 

 

PUBLIC PROGRAMSPosted on 06.09.2016
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