315 research outputs found
Studies for a place VIII, 2024, Vicky Pericleous, ceramic, semi precious stones, aluminium, engraving, installation
No full text1. Studies for a Place, The House of Leda, 2023, Vicky Pericleous, (video duration: 11’:46’’)
2. The Tail of the Image, 2020, Vicky Pericleous, (video duration:08’:13’’)
3. From the Series 03: Regulated Services: Leaving History, 2012 Helium Balloon (diameter: 3 meters), CCV Camera, 2 Monitors, video screening
In the three video pieces, Vicky Pericleous develops a visual investigation where the ‘geographies’ of places and history converse with the ‘geography’ of thought and emotion. Essentially, this process involves repurposing and reassembling images, transitioning elements from real spaces and lived experiences into a virtual environment. This manipulation creates a new, utopian space that expands our understanding of ‘topography’ with a subversive intent.
Throughout this transitional process, the management of multiple artistic events in space and time generates elusive elements that seem to touch upon the boundaries at liminal moments, just before or after the disappearance of recognisable and familiar forms. This often creates an intermediate space acknowledged within the artwork.
This new ‘materiality’, with its mnemonic actions of continuity and discontinuity between history and fiction, fosters free and random associations, improvisations, and arbitrary correlations. It reconfigures archival material and the present reality, acclimatising us to a mutated mapping of our surroundings.
The introspection and questions arising from this type of visual management soften any nostalgic tendencies and facilitate a detachment from attachments burdening the conscience. Regardless, Pericleous’s artistic navigations through her imaginary and real ‘voyages’ construct multi-layered visual essays, often enhanced with sound or physical extensions into space, producing borderland spaces with latent elements and beneficial escapes between borders and divisions. Specific gestures of access (involving balloons filled with sunlight and hidden surveillance cameras) at selected points in restricted areas of nature or the built environment make a blatant statement about the need for passage or rather, the need for an experience akin to a ‘passport’. Text by Thalea Stefanidou, Art Historian
4. Studies for a place VIII, 2024, Vicky Pericleous, ceramic, semi precious stones, aluminium, engraving
Five ceramic formations that have captured precious stones are placed on specially designed multifaceted metal bases: resembling scaled-down rocks or mountains, sea reefs, or shoals, they bear precious traces in places, creating an artistic metaphor of an adorned geological formation projected in elevation.
By awakening her imagination, Vicky Pericleous brings us closer to the common ancestral and mythical place where fundamental fantasies and symbolic ritualistic versions of the creative effort are traced.
The transformations with the precious nests she created within the material of her ceramic works, as well as the way she chose to present them by placing them on metals shaped with cuts and jagged engraved designs, are recorded in the space as statements returning to the ‘infinity’ of the Universe, aiming to register a development of a cluster of ‘islands,’ isolated, like the concept of the autonomy of an archipelago.
In such a holistic work, ambiguities (in the dual meaning of the word) seem to delineate, subtly declare, or completely nullify the competition and contradictions of the various materials, resulting in an act of reconciliation, as happens in compositions of dialectical shaping and transformation. Text: Thalea Stefanidou, Art HistorianThis exhibition marks a pivotal transformation of an old industrial building on the Limassol waterfront into a public space. The exhibition highlights a tumultuous historical era for Cyprus during the last 50 years and commemorates the tragedy of 1974 when the Turkish invasion was followed by the division of the island. This period was marked by numerous efforts toward healing and societal restructuring amidst significant global upheavals.
The artistic expressions evoked by Nicos Chr. Pattichis covers a broad spectrum of proposals that range from varied painting techniques, constructions, installations, and videos, all representing facets of creative endeavour relating to the unity of universal culture.
The artworks featured are curious accumulations of diverse materials, transformations of archival substances and everyday objects with reimagined aesthetic roles, along with new mappings between fictive urban planning and psychogeography.
This creative polyphony naturally leads to deep reflections on critical issues tied to historical memory and social progress across all sectors of ‘real’ life, fostering the development of new thinking aimed at building a redemptive worldview. Many of the works are part of the non-profit organisation CYCO (Cyprus Contemporary Art Center)
The Image’s Tail I, 2020, Vicky Pericleous, printed on Hahnemühle photo pearl, 310 gsm paper using archival quality inks 24 x 41.5 cm Edition of 30 (#3/30)
No full textWithin the context of the exhibition the following works have been presented:
VICKY PERICLEOUS
Studies for a Place: Proposition X, 2024
ceramic, fossils, semi-precious stones, tiles
102 x 61 x 8 cm
With special thanks to Vassos Demetriou
Από τη Σειρά: Μελέτες για ένα Χώρο, Εικασία Χ, 2024, Βίκυ Περικλέους, κεραμικό, απολίθωμα, ημι-πολύτιμες πέτρες, βιομηχανικά πλακάκια, 102 x 61 x 8 εκ. Ευχαριστίες στον Βάσσο Δημητρίου για την πολύτιμη στήριξη του.
Η γλυπτική αυτή εγκατάσταση/assemblage κινείται από την αφαίρεση στην αναπαράσταση, φέροντας μπροστά αισθητικές αξίες του Μοντερνισμού, ενώ την ίδια ώρα, ενσωματώνει τις ευαλωτότητες του υλικού του, (του πηλού) και των ενδελεχών χειρωνακτικών διαδικασιών της κεραμικής. Η υλικότητα του γλυπτού, λειτουργεί υπενθυμιστικά ως προς την ευρεία χρήση του πηλού στην ευρύτερη περιοχή της Μεσογείου και της Εγγύς Ανατολής, από την αρχαιότητα μέχρι σήμερα, ενσωματώνοντας στο έργο τις αργές χειρωνακτικές, διαλογιστές χειρονομίες της κεραμικής. Αυτές οι χειρονομίες συγκροτούν ένα υπονομευτικό μηχανισμό, μια οπτική ρήξη στη γλώσσα του Μοντερνισμού, ανοίγοντας τον χώρο να ξανα-σκεφτούμε τις πολιτικές αυτών των πολιτισμικών σχηματισμών. Το γλυπτό ανασυντίθεται σε μια χωρική παράθεση με ημι-πολύτιμες πέτρες -θραύσματα από διάφορες τοπογραφίες- και βιομηχανικά πλακάκια. Η διαδικασίες δημιουργίας του, ανακαλούν πρακτικές αρχαιολογίας κα τελετουργιών, ενώ φέρουν –νέες- αναδύσεις γύρω από μυθολογίες τόπων και οντοτήτων .
Το έργο προτείνεται ως ένα νέο – υπονομευτικό- οικοσύστημα αλλοιώσεων των ιεραρχικών αφηγήσεων, σχηματοποιώντας ένα –άλλο- σώμα και χώρο, πολλαπλών διασταυρώσεων, για άλλες εν δυνάμει, πολιτισμικές αναδύσεις και -συνεχούς- γίγνεσθαι.
From the Series: Studies for a Place, Proposition X, 2024, Vicky Pericleous, ceramic, fossils, semi-precious stones, industrial tiles, 102 x 61 x 8 cm. With special thanks to Vassos Demetriou for his invaluable support.
The sculptural installation/assemblage moves from abstraction to representation, bringing forth, modernist aesthetics, while being embedded, with the fragilities of its materiality (that of clay) and the painstaking processes of ceramics. Its materiality underline, both, the wide usage of clay in the wider region of the Mediterranean and the Levant from the ancient period to now, imbuing the work with the slow meditative handcrafting gestures of ceramics. These gestures form a subversive mechanism, a visual rupture within the language of Modernism, opening the space to rethink the politics of these cultural formations. The sculpture is reconfigured in α spatial composition, along with semi-precious stones –fragments from different topographies-, and industrial tiles. Its making echoes on practices of archaeology and ritual, while evoking new risings of mythologies of places and entities.
The work stands as a- subversive- ecosystem of alterations from hierarchical narratives and forms an-other crossbreed body and site for other possible cultural risings and- constant- becomings.
VICKY PERICLEOUS
The Image’s Tail I, 2020
Printed on Hahnemühle Photo Pearl 310 gsm paper
using archival quality inks
24 x 41.5 cm
Edition of 30 (#3/30)
VICKY PERICLEOUS
The Image’s Tail II, 2020
Printed on Hahnemühle Photo Pearl 310 gsm paper
using archival quality inks
24 x 42 cm
Edition of 30 (#2/30)
VICKY PERICLEOUS
The Image’s Tail III, 2020
Printed on Hahnemühle Photo Pearl 310 gsm paper
using archival quality inks.
24 x 42 cm
Edition of 30 (#2/30)
VICKY PERICLEOUS
From the Series STUDIES FOR A PLACE: IV, 2023
collage, print on reflective aluminium
variable
Edition of 3
Από τη Σειρά Μελέτες για ένα Χώρο: IV, 2023, Βίκυ Περικλέους, κολλάζ, τύπωμα σε καθρέφτη/αλουμίνο, διαστάσεις μεταβλητές
Το έργο από της Σειρά Μελέτες για ένα Χώρο: IV, 2023, είναι το αποτέλεσμα μια σειράς εικαστικών χειρονομιών, διαδικασιών και επιτελέσεων στον χώρο, ως μια διερευνητική μελέτη για τις οπτικές και νοητικές ελαστικότητες της ίδιας της εικόνας.
Η Περικλέους χρησιμοποιεί, ως μέρος της εικαστικής της πρακτικής και έρευνας, αρχειακό υλικό από την προσωπική της συλλογή: εικόνες από δημόσια αρχεία και καταγραφές (βίντεο/φωτογραφίες), από συναντήσεις στο χώρο, τα οποία αρχειοθετεί για να τα ανασυνθέσει μετέπειτα σε νέες ρευστές γεωγραφίες,. Προσεγγίζει αυτά τα αρχεία ως ‘συσσωρεύσεις ημερολογίων και συναντήσεων’.
Στο έργο αυτό, εικόνα από γυάλινο slide ενός ερειπίου στη Γερμανία, φωτογραφίζεται με φόντο τον Κυπριακό ουρανό. Μέσω εφαρμογών σκαναρίσματος και διαδικασιών κολλάζ, η νέα εικόνα τυπώνεται μέσω θερμότητας, σε πλάκες καθρέφτιζον αλουμίνιου και ανασυντίθεται για να επανα-εμφανιστεί, σε μια επιτόπια εγκατάσταση στον εξωτερικό χώρο ενός σχολείου με φόντο τα βουνά του χωριού της Γαλάτας στην Κύπρου. Το έργο τοποθετείται απέναντι ακριβώς από τον ήλιο του μεσογειακού καλοκαιριού, εγγράφοντας έτσι πάνω στο δέρμα του τις συνθήκες του κυπριακού τοπίου. Εν τέλει, απομακρύνεται για να ξανα-εκτεθεί στο χώρο της γκαλερί, ενσωματώνοντας πλέον όλες τις επιτελεστικές διαδικασίες και υλικότητες. Την ίδια ώρα, αντανακλάται εκ νέου, στο σώμα του, ο χώρος της νέας εγκατάστασης του, συσσωρεύοντας και μεταφέροντας παράλληλα αυτές τις μετασχηματιστικές, αναδύσεις ετεροτυπικών γεωγραφιών και συνθηκών, σε μια καινούργια συνθήκη.
Το έργο από της Σειρά Μελέτες για ένα Χώρο: IV, 2023, είναι το αποτέλεσμα μια σειράς εικαστικών χειρονομιών, διαδικασιών και επιτελέσεων στον χώρο, ως μια διερευνητική μελέτη για τις οπτικές και νοητικές ελαστικότητες της ίδιας της εικόνας.
Η Περικλέους χρησιμοποιεί, ως μέρος της εικαστικής της πρακτικής και έρευνας, αρχειακό υλικό από την προσωπική της συλλογή: εικόνες από δημόσια αρχεία και καταγραφές (βίντεο/φωτογραφίες), από συναντήσεις στο χώρο, τα οποία αρχειοθετεί για να τα ανασυνθέσει μετέπειτα σε νέες ρευστές γεωγραφίες,. Προσεγγίζει αυτά τα αρχεία ως ‘συσσωρεύσεις ημερολογίων και συναντήσεων’.
Στο έργο αυτό, εικόνα από γυάλινο slide ενός ερειπίου στη Γερμανία, φωτογραφίζεται με φόντο τον Κυπριακό ουρανό. Μέσω εφαρμογών σκαναρίσματος και διαδικασιών κολλάζ, η νέα εικόνα τυπώνεται μέσω θερμότητας, σε πλάκες καθρέφτιζον αλουμίνιου και ανασυντίθεται για να επανα-εμφανιστεί, σε μια επιτόπια εγκατάσταση στον εξωτερικό χώρο ενός σχολείου με φόντο τα βουνά του χωριού της Γαλάτας στην Κύπρου. Το έργο τοποθετείται απέναντι ακριβώς από τον ήλιο του μεσογειακού καλοκαιριού, εγγράφοντας έτσι πάνω στο δέρμα του τις συνθήκες του κυπριακού τοπίου. Εν τέλει, απομακρύνεται για να ξανα-εκτεθεί στο χώρο της γκαλερί, ενσωματώνοντας πλέον όλες τις επιτελεστικές διαδικασίες και υλικότητες. Την ίδια ώρα, αντανακλάται εκ νέου, στο σώμα του, ο χώρος της νέας εγκατάστασης του, συσσωρεύοντας και μεταφέροντας παράλληλα αυτές τις μετασχηματιστικές, αναδύσεις ετεροτυπικών γεωγραφιών και συνθηκών, σε μια καινούργια συνθήκη.Art Seen is pleased to present the second part of the group exhibition 'Land[e]scapes' opening on the 29th of May 2024. The show is curated by Maria Stathi.
'Land[e]scapes' explores our relationship with nature, geology, topos, and time.
The exhibition features select artists whose creations awaken new realms of contemplation about landscape. Participating artists: Chris Akordalitis, Panayiotis Andreou, Serena Caulfield, Benjamin Deakin, Marina Genadieva, Andreas Kalli, Kyriakos Kallis, Nicolas Kyrillou, Panayiotis Michael, Vicky Pericleous, Nicos Philippou & Marilena Zackheos, Amy Stephens, Korallia Stergides, Amikam Toren, Vassia A. Vanezi, Shaheer Zazai and Vasilis Zografos.
At the heart of the exhibition lies the concept of "landscape" as a multifaceted construct, embodying social, cultural, and environmental narratives. “Landscape” serves as a canvas upon which personal, political, and societal attitudes are etched and reflected.
Various elements of landscape—vegetation, expanses of land, bodies of water, rock and mountain formations—manifest in diverse artistic mediums, serving as conduits for exploration into our relationship with nature and the formation of our identity.
Moreover, landscapes not only speak of nature but also bear the imprint of the artists and the cultural and historical contexts in which they were created.
In contested territories or geographical areas that have witnessed conflict, war, colonialism, natural disasters, forced migrations or the effects of climatic change, the cultural and historical contexts are especially relevant in the reimagining of landscape.
In the exhibits on display, the visitor will encounter environmental sensitivities, fascinations with geology, examinations of how war alters land, symbolic journeys to lost homelands, intercontinental travels, childhood memories, edenic utopias, and mythological places. Each of these unique explorations of landscape unveils portals to both real and alternate realms
Από τη Σειρά: Εξωτισμοί και Άλλες Πράξεις, 2006- σήμερα: Το Σκίρτημα, 2011, Βίκυ Περικλέους, τύπωμα στην εφημερίδα Νέος Κυπριακός Φύλαξ, Τετάρτη 26 Μαρτίου 1941, χρωματιστό μολύβι, μέγεθος έργου ακολουθεί τις διαστάσεις της εφημερίδας From the Series: Exoticisms and Other Acts, 2006 – today: The Excitement, 2011, Vicky Pericleous, print on Neos Kypriakos Filax Newspaper, Wednesday 26 March 1941, coloured pencils size: varies according to the size of the newspaper
No full textIn the series of works Exoticisms and Other Acts, (2006-now), Vicky Pericleous photographs fragmentarily scenes from Greek erotic movies of the 1970's and prints directly onto newspapers dating from 1928 until today. The composition which derives, with the hard black outline printed on the newspaper instigates subjects of dominance in a composition, of making stories and creating identities for the newspapers and for the scenes photographed, and their Reading through time.
Works from these series have been shown in many exhibitions in Cyprus and abroad, among which at the 3rd Athens Biennale – Monodrome (2011), curated by Nicolas Bourriaud and XY (Xenia Kalpaktsoglou and Poka-Yio).Η Βίκυ Περικλέους φωτογραφίζει σκηνές από Ελληνικά κινηματογραφικά ερωτικά έργα (blue movies) του 70, γυρισμένα κατά τη διάρκεια της Χούντας στην Ελλάδα, τις οποίες ακολούθως τυπώνει απευθείας πάνω σε διάφορες αρχειακές εφημερίδες. Η μέθοδος αυτή ακολουθεί την ίδια διαδικασία τυπώματος με αυτή των αρχικών εφημερίδων. Στη συνέχεια, η Περικλέους αναπτύσσει το έργο, πολλές φορές μέσω σχεδίου, επανα-μεταβάλλοντας σε μια δεύτερη χειρονομία, τη σύνθεση που προκύπτει από το τύπωμα. Μέσα από αυτή τη διερευνητική πρακτική, αφηγήσεις, στοιχεία και περιεχόμενα τόσο από τις φωνογραφημένες σκηνές όσο και από τις εφημερίδες, διαταράσσονται, αποσταθεροποιούνται και επανα-ιεραρχούνται. Οι επικαλύψεις και οι διασταυρώσεις που προκύπτουν με τη νέα σύνθεση, μετακινούν τις εφημερίδες και το περιεχόμενο τους, ως αρχειακά τεκμήρια, που ενεδρεύει στον παρελθόντα χρόνο, στη ρευστότητα του παρόντος, επανα-προτείνοντας άλλες αναγνώσεις. Αυτές εστιάζουν σε αντιλήψεις και ζητήματα κατασκευής εννοιών του τόπου, προσωπικών και συλλογικών αφηγήσεων και ταυτοτήτων, και μηχανισμούς δόμησης του φαντασιακού. Αναζητώντας εν τέλει, ενδεχόμενα επαναφόρτισης της ερμηνείας και αντιληπτικότητα της εικόνας.
Vicky Pericleous photographs scenes from 70s Greek blue movies, filmed during the Greek dictatorship era, which she then prints directly on variant archival newspapers from different periods. Their printing method follows the same process as that of the initial newspapers. In a second art gesture, she re-configures the composition, many times, through drawing. Through this investigative practice, any readings, elements and contexts, from the photographed scenes and the newspapers, are being disturbed, destabilised and re-hierarchized. Over-layering and crossings that come up in the new compositions, re-locate the newspapers and their contexts, from being viewed an archival document, a notion that sits in the past, in the flux of the present tense, re-proposing as thus, other readings. These new readings focus around issues of construction of notions of place, of personal and collective narratives and identities, as well the construction of the imaginary. Setting as such, other possibilities for re-activating the image’s narratives and perceptions
Descubre el Futoro Sustenible: Vicky Pericleous, 'Economies of Empathy & Sustainability: a gestural return in the contexts of art' in the context of EMPACT|Empathy & Sustainability: The Art of Thinking like a Mountain, Creative Europe Program, at Fundación Antonio Gala,Cordoba
No full textEMPACT|Empathy and Sustainability
The Art of Thinking Like a Mountain is a 24-month transnational cooperation project among the Cyprus University of Technology (CY) as lead partner, Espacio Rojo (SP), Nature, Art & Habitat Residency (IT), National Academy of Theatre and Film Arts “Kr. Sarafov ” (NATFA) (BG), Umetnostna Galerija Maribor (SL), Vorres Museum (GR), and Fondazione Lamberto Puggelli (IT), which is co-funded by the Creative Europe Programme of the European Union.
With this project, we adopt an innovative approach to advocating and acting upon environmental challenges by exploring the empathy-sustainability relationship through the arts.
The project focuses on the power of arts to rebuild trust in a sustainable future and a more inclusive society, stimulating creativity in citizens to find solutions and opportunities for the future. EMPACT acknowledges the New European Agenda for Culture strategic objectives, by focusing on the promotion of cultural participation, the mobility of artists, the promotion of skills for artists and creative professionals, and the potential of arts to foster sustainable development and social cohesion. Considering the challenging recovery from the pandemic that society faces, we support that a participational empathic model is required, which will set the basis for dynamic actions and creations with regards to sustainability.
EMPACT aims at supporting a diverse set of cultural players to take an active role promoting empathy and sustainability in their respective local, national and transnational/European communities, advancing a better understanding of the ways in which empathy-related arts contribute to individual sustainability orientations and broader environmental sustainability. @EMPACTThis presentation within the EMPACT European Program (Empathy and Sustainability: The Art of Thinking like a Mountain), expands on a set of speculative investigations and practices I have been researching into and developing through the years that respond to today’s themes. These connect with, as well as examine quests around the subject of Economies of Empathy & Sustainability: a gestural return in the contexts of art...
...A variety of media, art-practices (drawing, erasing, assemblage) and materials are employed to examine how different modes of production re-locate, overpower or pacify perceptions of existing -archival- images/booklets and their produced meaning.
Reflecting, at the same time, on the politics of place and issues around identity construction. Cultural and spatiotemporal fragments and hierarchies are re-configured to investigate the fragilities or persistence around specific cultural constructs.
At the same time new materials are re-introduced within the existing archival matters, to destabilise –stereotypical- perceptions and to, perhaps, open up to new possibilities of thinking, feeling and connecting with the current socio-political conditions.' Vicky Pericleous, artist/assistant professor, (CUT).Creative Europe Programme of the European Unio
Land[e]scapes
No full textArt Seen is pleased to present the off-site group exhibition 'Land[e]scapes' taking place in Limassol on view for only two days October 21 and October 22, 2023.
A visual journey that traverses the realms of topos, geology, and time titled 'Land[e]scapes'. Curated to invite viewers to engage in a thoughtful exploration of our relationship with the landscape. Featuring a selection of artists including Panayiotis Andreou, Marina Genadieva, Vicky Pericleous, Nicos Philippou & Marilena Zackheos, Amy Stephens, Vassia Vanezi and Vasilis Zografos whose creations transcend conventional boundaries and awaken new realms of contemplation.
The exhibition 'Land[e]scapes' is presented within the framework of Limassol Art Walks in a pop-up space in Limassol at Cassina - El Greco showroom Eleftherias Street 139-141, 3042 Limasso
FRONTPAGE PROJECT: Symposium
No full textFRONTPAGE PROJECT | Symposium, Symposium Organizer | Coordinator: Vicky Pericleous, Assistant Professor, Department of Fine Arts, School of Fine & Applied Arts, Cyprus University of Technology
Presentation/Concept Development of the FRONTPAGE PROJECT
‘The purpose of this project is to achieve an artistic and dynamic outcome through the interaction and collaboration of creators from both the visual arts and the broader fields of journalism and communication. Participants are inspired by front-page newspaper articles they choose and by prominent news from the media, both international and Greek print and digital press. These ‘front pages’ serve as a canvas for creation, commentary, expression, and positioning. The themes developed by the creators have a referential and conceptual approach regarding the transmission of the message, the concept of news, writing, text, and the power of words and images.
More specifically, the exhibition develops along five main axes: Timeliness - Communication - Image - Word - Memory and will include visual works from already recognized and upcoming visual artists, photographers, photo reporters, and video artists.
The FRONTPAGE has already been presented at the Melina Mercouri Cultural Center in Athens in 2023, and a new presentation is scheduled in Vienna that involves the participation of creators and communicators from Central Europe’.
Curatorial Team for FRONTPAGE, CYPRUS
Eva Marangaki, Visual Artist/Concept/Curator (AXIONART)
Marios Nottas, Director of the European Communication Institute, ECI
Gioula Papadopoulou, Director of the Video Art Festival Miden.
Vicky Pericleous, Assistant Professor | [Ρε:Re] Speculative Fine Art Practices Lab, (CUT)
Andreas Savva Special Teaching Staff, (CUT)
Julia Sysalova, Curator, Art Critic, and Art Communication Educator
Rebecca Taki, Curatorial Assistant, MA Student|MA History and Theory of Art, (CUT)
Production: European Communication Institute E.C.I., AXIONART in partnership with the Athenian Macedonian News Agency (AMNA), AxionArt, Cyprus University of Technology, Festival, Miden.FRONTPAGE PROJECT - Exhibition | Symposium | Workshop, Department of Fine Arts, School of Fine and Applied Arts, CUT - Cyprus University of Technology, Limassol Municipal University Library, November 20 – 29, 2024
Group exhibition | symposium | workshop centered on the themes of "front page" and "headline news" in print and digital media.
Participants include artists and cultural producers from the visual arts, from academic fields, and the media.
The Department of Fine Arts at the School of Fine and Applied Arts of Cyprus University of Technology (CUT) develops and organises the second part of the international investigative project FRONTPAGE in collaboration with the European Communication Institute (ECI), in partnership with the Athenian Macedonian News Agency (AMNA) and the open visual arts group AxionArt and the collaboration of the Video Art Festival Miden (Mηδέν). It is supported by various academic institutions, including Donau-Universität Krems (DUK). In Cyprus, the research project is curated and organised by assistant professor and visual artist Vicky Pericleous and [Ρε:Re] Speculative Fine Art Practices Lab (CUT), which she develops and coordinates, visual artist Andreas Savva (special teaching staff), and curatorial assistant, Rebecca Taki, student of the MA History and Theory of Art, (CUT), with the support and involvement of the Department of Fine Arts (CUT).
The FRONTPAGE project will unfold through a public symposium featuring esteemed academic speakers addressing topics relevant to the project, alongside the international FRONTPAGE exhibition at Limassol Municipal University Library, and a visual art workshop that engages academics from various fields and students from the Department of Fine Arts at CUT. The outcomes of the workshop will be presented in 2025 in Athens in an expanded exhibition featuring student work from the Athens and Thessaloniki Schools of Fine Arts, the University of West Attica (ΠΑ.Δ.Α.), the Department of Digital and Performing Arts of the University of Peloponnese, the Ionian University, as well as contributions from established artists.
*Symposium: Wednesday, November 20, 2024, 10:30 AM - 2:30 PM, Limassol Municipal University Library.
Invited Speakers: Maria Efstathiou, Curator, General Director of the Center for Visual Arts and Research (CVAR), Efi Kyprianidou, Assistant Professor, Department of Fine Arts (CUT), Eva Marangaki, Visual Artist/Concept/Curator (AXIONART), George Markou, Assistant Professor, Department of Fine Arts (CUT), Marios Nottas, Director of the European Communication Institute, ECI, Andreas Panayiotou, Associate Professor, Department of Phycology and Social Sciences, (Frederick University), Aspasia Papadima, Associate Professor, Department of Multimedia and Graphic Arts (CUT), Vasiliki (Vicky) Triga, Associate Professor, Department of Communication and Internet Studies (CUT), Julia Sysalova, Curator, Art Critic, and Communication in Art Educator. - Symposium Organizer | Coordinator: Vicky Pericleous, Assistant Professor, Department of Fine Arts, School of Fine & Applied Arts, Cyprus University of TechnologyFine Arts Department, School of Fine & Applied Arts, Cyprus University of Technolog
ΒΗΤΑ, a curatorial research project
No full textVicky Pericleous (artist/visual response/publication) in the context of the book publication
ΒΗΤΑ, a curatorial research project by assistant professor/graphic designer Omiros
Panagides (Cyprus University of Technology) & lecturer/photographer/cultural theorist
Nicos Philippou (University of Nicosia), which responds to Panagides’s wider research on
Books, type and Cyprus, Cyprological Book Archive (Book Arts Lab / Department of
Multimedia and Graphic Arts Semiotics and Visual Communication Lab,
Cyprus University of Technology
https://bookstypecyprus.com/about/Cyprological Book Archive (Book Arts Lab / Department of
Multimedia and Graphic Arts Semiotics and Visual Communication Lab,
Cyprus University of Technology
https://bookstypecyprus.com/about
Post and neo-colonial proximities | exiting Varosha. A Visual Essay, published at Passeio, Art & Urban Culture Platform, A Platform for the study of art and urban culture,
No full textThe platform is one of the research projects of the Communication and Society Research Centre (CECS).POST AND NEO-COLONIAL PROXIMITIES | EXITING VAROSHA
This visual essay draws the trajectory of an uneasy spatiotemporal navigation into post and neo-colonial contexts and cultural disputes. It comes us a response to my, first ever, entry and peripatetic wondering(s) into the formerly enclosed area of Varosha, in the city of Famagusta (Ammochostos), Cyprus. It further expands on relevant disputes and ideas that relate my art practice’s propositions, research and works. Access the essay here.
Bio
Vicky Pericleous is a visual artist and assistant professor at Cyprus University of Technology, Department of Fine Arts. She has studied at Manchester Metropolitan University, Wimbledon School of Art, London, and the Academy of Fine Arts in Venice. Pericleous’ work investigates her interest in examining and producing images where environments, gestures and encounters oscillate between the familiar and the alien, the ruin and the model, and notions of the near and far, in respect to postcolonial situations and geographical and cultural imaginaries. The idea of the fragment as well as spatiotemporal proximities and speculations are negotiated throughout her artistic oeuvre.
Her work has shown in exhibitions at various international venues including Espace Commines, Paris, Hasselblad Foundation in Gothenburg, Zahoor Ul Akhlaq Gallery of the National College of Arts, Lahore, Multiplied Art Fair, Christie’s, London as well as in various private galleries abroad [Amsterdam, Athens, Belgrade, Gothenburg, Istanbul, Lahore, London, Manchester, Paris, Rotterdam, and Vienna] in international exhibitions, biennales, curatorial research projects and programmes [ including Resilience /Compassion, 2022, Municipal Art Gallery, Athens, Vicky Pericleous/ ‘The Idle Fountain’, Solo Show, 2020-21, Art Seen Gallery Nicosia, ‘Drone Vision: Warfare, Surveillance, Protest’, across three countries/art Foundations, 2016-18, ‘The Presence of Absence, or the Catastrophe Theory’, NiMAC, Nicosia, 2018, ECLN Taking Part, Bernie Grant Arts Centre, London Monodrome, the 3rd Athens Biennale, and at Sanat Limani, as part of the European Capital of Culture Istanbul 2010]. Over the years, she has collaborated with and has been represented by Omikron Gallery, Nicosia (2010–2013) and Art Seen Gallery, Nicosia (2015–now).
She has initiated and participated in the international visual-research project “Uncovered: Nicosia International Airport,” 2010-13. She has been an active member of the Noise of Coincidence Art Group, an international art group / platform that has organised several exhibitions, actions, happenings and talks in Cyprus and abroad. Her work has been published and presented in many acclaimed books, art catalogues and press, including book publications by the Valand Academy of the Gothenburg University in collaboration with the Hasselblad Centre in Gothenburg, Sweden, 2022 and University of Columbia Press, Sept. 2019. Her work has been featured and presented in international Art & Theory Magazines. Amongst them the research platform Perambuation, Daily Lazy International, Art Daily Newspaper International and Art Forum, Critic’s Picks Column.
She has presented her work in many conferences, seminars, lectures and talks and she has contributed in the development of many Art Research Funded Programmes. Currently she is co-coordinating the Artistic and Creative Expression, (package 3) of the Creative Europe Programme: EMPACT (Empathy and Sustainability: The Art of Thinking like a Mountain), coordinated by the Cyprus University of Technology (CUT)
Vicky Pericleous, 'Economies of Empathy & Sustainability: a gestural return in the contexts of art' in the context of EMPACT|Empathy & Sustainability: The Art of Thinking like a Mountain, Creative Europe Program
No full textThe Art of Thinking Like a Mountain is a 24-month transnational cooperation project among the Cyprus University of Technology (CY) as lead partner, Espacio Rojo (SP), Nature, Art & Habitat Residency (IT), National Academy of Theatre and Film Arts “Kr. Sarafov ” (NATFA) (BG), Umetnostna Galerija Maribor (SL), Vorres Museum (GR), and Fondazione Lamberto Puggelli (IT), which is co-funded by the Creative Europe Programme of the European Union.
With this project, we adopt an innovative approach to advocating and acting upon environmental challenges by exploring the empathy-sustainability relationship through the arts.
The project focuses on the power of arts to rebuild trust in a sustainable future and a more inclusive society, stimulating creativity in citizens to find solutions and opportunities for the future. EMPACT acknowledges the New European Agenda for Culture strategic objectives, by focusing on the promotion of cultural participation, the mobility of artists, the promotion of skills for artists and creative professionals, and the potential of arts to foster sustainable development and social cohesion. Considering the challenging recovery from the pandemic that society faces, we support that a participational empathic model is required, which will set the basis for dynamic actions and creations with regards to sustainability.
EMPACT aims at supporting a diverse set of cultural players to take an active role promoting empathy and sustainability in their respective local, national and transnational/European communities, advancing a better understanding of the ways in which empathy-related arts contribute to individual sustainability orientations and broader environmental sustainability. - @EMPACT'This presentation, within the EMPACT European Program (Empathy and Sustainability: The Art of Thinking like a Mountain), expands on a set of speculative investigations and practices I have been researching into and developing through the years that respond to today’s themes. These connect with, as well as examine quests around the subject of 'Economies of Empathy & Sustainability: a gestural return in the contexts of art.'
To expand on a series of relative critical stances, I would talk about the present and talk about the ongoing Series: Exoticisms and Other Acts, 2006 – today, which has been presented in many art venues, amongs them, Monodrome, the 3rd Athens Biennale, 2011–2012 at Diplareios School, Athens, Greece, curated by Nicolas Bourriaud, XY (Xenia Kalpaktsoglou and Poka-Yio) and ‘Rooms to Contemplate: Content and Perspective of a Collection’, 2017, at the Bank of Cyprus Cultural Foundation, curated by Savvas Christodoulides. Also I would shortly present as a following up to the above relevant contexts the work Also in Athens, 2019, shown in the international exhibition: ‘Art: Key to Conflict Resolution’ at Serafeio Municipal Centre, Athens, curated by Vasia Deliyianni, supported and co-hosted by Athens Culture Net of the City of Athens, an exhibition conceived as an extension of the relevant book launch at the Barnes Foundation, Philaderphia and in response to the book publication edited by Noam Lemelshtrich Latar, Jerry Wind and Ornat Lev-er...
...The initial printing materials used for both the works I have presented -products of an excess economic culture, which are mainly discarded after their vast circulation-, carry the burden of their specific socio-political conditioning. Their re-configuration into new speculative contexts could enable nonetheless, a shift towards other economies of making.
Their gestural return into contexts of art, could open up potentialities for diverse modalities for engaging within the current states of our fragile worlds.
Modalities that could perhaps produce and resonate new systems and tools which could move beyond hegemonic structures of power and authority in order to respond anew, to the complexities of today’s worlds.
Ones that could point towards more vulnerable but decisive gestures of disturbance of the very power structures that have been producing inflexible constructs through the excess images and materials of our cultures.
These -new- gestures of return, could reconnect and re-position these images and materials into other –conceivably more empathetic- contexts and perceptions.' Vicky Pericleous, artist/assistant professor (CUT)Creative Europe Programme of the European Union
The Unsettling Event of an Enigma, *to be forever or never to have been
No full textVicky Pericleous – Vasilis Zografos
The unsettling event of an enigma
(to be forever, but never to have been*)
Lola Nikolaou gallery
Opening: Tuesday 3 October 2023 from 18:00 to 22:00
Duration 3-27 October
Curation: Vicky Pericleous – Vasilis Zografos
The exhibition is developed through a subversive and evocative dialogue towards a visual investigation that primarily, seeks to choreograph the invisible, in-between space. The dialectic that is, space between the works, and consequently, the space, which is constituted through the viewers’ interpretations. The site-specific installation emerges in space through a set of spatiotemporal expansions, folds and compactions. All these, a product of visual performativities and speculations, could finally, be inscribed as the after-sound of one or multiple events.
The title of the exhibition recalls Man Ray’s work ‘L’Enigme d’Isidore Ducasse’, 1920 and the subtitle is taken from Jorge Luis Borges’ poem ‘The Enigmas’ from the collection ‘Jorge Luis Borges, Selected Poems, 1923-1967’ of 1972.
This collaborative installation, with the intention to engage the invisible as real and the immaterial as vital, in order to explore and expand the visible and the perceptual, constitutes, essentially, a political act.
The enigmatic object in Ray’s work critically reference the emblematic for surrealism, phrase by Isidore Ducasse (1809-87), better known as Comte de Lautréamont, ‘‘Beautiful as the accidental encounter, on a dissecting table, of a sewing machine and an umbrella’, re-surfaces on the dissecting table of today’s – labyrinthine- worlds, as a ghostly reminder, in present tense. A reminder of the opening or the possibility of art –not only- towards a surprising image or a mystery-image, but towards the rising of this in-between dialectical space, -between objects and subjects-, as a surprising space or a mystery-space. This intangible but active space, engages in the production of the exhibition as a vital space and as a space of multiplicities. Its substances, could, potentially, re-engage, deviate or re-locate, visually and perceptually, the works themselves, into other –allusive- views and propositions
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