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Philoxenia, a Social Performative Practice?
No full textWhat makes performative writing in the space of a page look like a dancer/philosopher in the
streets? Why is space the vital condition of dramaturgy in the contemporary discourse of both
visual and performing arts? How are scenography and its derivatives the pivot points for reexamining
spectatorship? This article started as a performative lecture at the International Colloquium
“Qu’est-ce que la scénographie?” held on 21–22 October 2011 in Paris,1 which was then
published in French as “La scénographie, une pratique sociale performative?” (2012).2 After a
number of fruitful discussions with Randy Martin, the article evolved into the present English
version, opening for me new paths into space and performativity. Shared space: a bridge-maker
between aesthetics and politics, visual and performing arts, theatre and dance, and, above all,
human relationships. Philoxenia: the situation where the xenos (ξένος), the stranger, becomes
a philos (φίλος), a friend. Is art able to build space for hospitality and movement for the viewer,
witness, participant, spectator, co-author and co-producer of meaning
Chora-graphy and Performative Arts: interweaving and co-existing of space and body in the turn of the 21st century
No full textThe subject of this doctoral thesis is the multiple meeting spaces of practices from the performing and visual arts as it is manifested at the beginning of the 21st century, in the western world, and their description by the term "chora-graphy". In this term coexist the two key concepts of the present thesis: the space (through the first constituent, "chora-"), and the in-scription of the bodies of the artists and/or of the spectators. In the introduction we unravel the threads that constitute the theoretical and research framework, so that the reader comprehends the approach mechanism and the operating methodology adopted for the space-body-viewer triangle. For the analysis of chora-graphy, we connect it with Performance Studies and its broader phenomena in art as well as with spatial theories.
Since chora-graphy can be defined as a practice of interweaving –performing arts (theater, opera, contemporary dance), and visual arts (performance, installation, social sculpture) function vertically as threads, as a warp while horizontally, almost as a weft, they are associated with concepts and practices such as the ritual as a maternal origin, ancient tragedy, the meeting of bodies, opening a space that leads to hospitality, walking practice, dialogue, experience of time, manifestations of Greekness, co-learning, the alternation of the attributes and roles of artists and spectators– in the main body of the dissertation we study works as nodes.
In regards to the performing arts we focus at: a text-based theater where the performers act without directorial instructions (J. Kokkos); the transforming sculptural installation for a series of various opera performances (St. Lazaridis); in contemporary dance, works in transitional spaces of a museum (M. Hassabi), and the practice of walking in an archeological site (T. Sehgal). As to the visual arts, we study two performance works: in the first, the body in pain is exposed parallel to the bodies of the viewers in a museum (Franco B); in the second, the artist moving in the urban fabric, recalls and produces spatial memories (L. Papakonstantinou). Later on, regarding the visual installation, we focus the research (J. Kounellis) on a project / meeting place between living species (human-animal). Finally, we analyze a social sculpture / creation center (Victoria Square Project) that is materialized by, with and for communities.
The "dance" of chora-graphy, from one practice to another and vice versa, captures after all another type of “tribe” of artists, which is characterized by a desire to meet the viewer/ visitor and open spaces for common, ephemeral co-habitation. In continuation of the present research, we propose a chora-graphical framework of education / teaching in Greece
Performance Dates, International Conference
No full textPerformance Dates 2021 | International Symposium on Performance
Performance Dates 2021 | International Symposium on Performance
Concept, Curation, Organisation: Assistant Professor Adonis Volanakis, founder of Blind Date Arts Lab @ CUT | Cyprus University of Technology
The Department of Fine Arts of The Cyprus University of Technology launches the first International Symposium Performance Dates 2021, focusing on Performance.
The symposium signals the inauguration of the cross-disciplinary and interartistic Blind Date Arts Lab @ CUT founded by Dr. Adonis Volanakis. The lab researches the interweaving of visual arts with contemporary dance, experimental theatre, poetry and music, and focuses on community-based social sculpture and contemporary art in the public sphere. It promotes the University’s connection (students, teaching and administrative staff) with the broader public and the artistic community.
What. Symposium Performance Dates 2021 invites distinguished Cypriot and International artists and theoreticians in a lineup that includes lectures, artist talks as well as discussions with practicing performance artists originating from the visual arts, contemporary dance and experimental theatre, with an interactive discussion with the audience.
As a collective body of performance which includes artists, theoreticians, historians, academics, students, audiences and cultural managers, we are often invited to negotiate and to explain what Performance is. How do we define and understand Performance as a concept and as praxis? What are the arts we can locate it within, and through which humanities does it engage in a dialogical discourse? How is it connected with communities and the public sphere?
Why? Whilst the last decades have seen a rise in Performance Arts in the Cypriot art scene, one could wonder what needs, themes, tactics, or questions draw the artists in this form of art, which suggest the reflection of the relationships between body, space and the coexistence with the viewer/collaborator in contemporary art.
Which is the space of Performance? What is audience specificity? Are Performance Arts accessible to the general public? Is it a political act? A protest? An embodied communication? Is it self-referential or critical? What is its positionality today within a society saturated by spectacle and digital imaging? How does site-specificity define the audience's experience? Which platforms are supportive? Finally: What is not Performance
Blind Date Retrospective Photographic Series
No full textBlind Date Retrospective Photographic SeriesParsons Fine Art, The New Schoo
Blind Date, Versions of Artistic Citizenship
No full textBlind Date
Versions of artistic citizenship
Works from the Permanent Collection of CCA
New works by collaborators of the Museum
Guest Artists
Curator:
Adonis Volanakis
Contemporary Art Museum of Crete
Inauguration: Friday, June 28, 2019 at 20.00
32, Mesolongiou St., Rethymnon
On Friday, June 28, 2019, the Contemporary Art Museum of Crete inaugurates Blind Date, versions of artistic citizenship, anexhibition with works from the Permanent Collection and works by other artists.
The Permanent Collection of the CCA of Crete includes more than 650 works from the 20th and the21st centuries. Maria Marangou, maps a production of visual art from Greece and other countries with a particular instinct and diligence. In the present exhibition, artist Adonis Volanakis proposes works from the Museum’s permanent collection on a blind date with artists who do not belong to the collection, as a sculptural assembly of spaces and contexts. How does the Museum, the house of the Muses open its doors and hosts new research planes in visual art? How are new routes selected and how does one work illuminate another in a group exhibition?
“what happens inside us and what happens to us?”
Maurice Merleau-Ponty
The works were selected on one basic belief. Art shapes and transubstantiates our relationship with the world and the artist can-as an active subject-discursively transfer his/hers/their co-curiosity about what we call life.
Is art a possible tool for the unreeling of the multiple realities of the worlds we run-through-together in? Can art bring close the worlds of experienced reality with those of fantasies and dreams in a dance of plural form?
The exhibition proposes a series of questions from the juxtaposition of the works. Which is the prism of the versions of the artistic citizenship and what responsibilities and obligations artists present as citizens with another springboard and creative mediums? What does it mean for the work of an artist to belong to a permanent collection of a museum? Is the museum a hosting locus for the artists, their works and their ideas? Is it a space of hospitality for visitors’ / spectators’ / participants’ / witnesses’ / co-creators’ bodies and ideas?
The curator presents multiple routes through the works as a mosaic palimpsest. Painting, sculpture, videos, installations and performative actions will compose an attempt to record the reflections of the artists on the world. The Education Department will pose fundamental questions through museo-pedagogical programs for all ages, such as: What can be art, the concept of hospitality, of co-operation, of visibility and of interactive social integration.
Participating Artists:
Antouaneta Agelidi, Nikos Alexiou, Nicholas Anastasopoulos, Katerina Apostolidou, Ionian Bisai + Sotiris Tsigkanos, Nikos Charalambidis, George Hadjimichalis, Thalia Chioti, Kostas Daflos, Bia Davou, Thomas Diotis, Christoforos Doulgeris, Phoebe Giannisi, Maria Glyka, Giorgos Gyparakis, Doris Hakim, Nadia Kalara, Niki Kanagini, Lefteris Kanakakis, Christina Katsari, Eirini Linardaki, Maria Loizidou, Rick Low + Maria Papadimitriou, Despo Magoni, Michalis Manousakis, Eleni Mylonas, Ilias Papailiakis, Dionisios Pappas, Rena Papaspyrou, Giannis Psychopedis, Chrysa Romanou, Agelos Skourtis, Marios Spiliopoulos, Marianne Strapatsakis, Eleni Tzirtzilaki, Anna Tsouloufi-Lagiou.Municipality of Rethimno, Crete, Greec
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