Tag: tereza papamichali

sparrow

06

“Curved Arrows”

A curved arrow stresses its ambiguity through the symbolic difference of masculine and feminine design . The arrow is used here as a metaphor of the god Eros in Greek mythology, whose thin, long and pointed objects in our case do not hit their targets. An arrow that always misses reminds us that the imaginary demands are by definition, unsatisfiable and that the original desire is sustained by its lack.
This exhibition is the continuation of a recent show (Stopping Point, 2018) based on a poem by Antoine Tudal, which describes the difficulty of love through the acoustic and verbal similarity of “love” (l’amour) and “wall” (le mur) in French. The“love-wall” (l’a-mur) in the second part of this visual research is titled as “Curved arrows” .

Artists: Amalia Vekri, Alexandros Georgiou, Maria Georgoula, Zoe Giabouldaki, Dimitris Ioannou, Eleni Kamma, Nikos Kanarelis, Chrysanthi Koumianaki, Markela Kontaratou, Karolina Krasouli, Konstantinos Kotsis, Margarita Myrogianni, Theo Michael, Myrto Xanthopoulou, Nina Papaconstantinou, Tereza Papamichali, Georgia Sagri, George Stamatakis, Stefania Strouza, Evangelia Spiliopoulou, Alexandros Tzannis, Panos Tsagaris, Dimitris Foutris, Savvas Christodoulides

Curator: Kostis Velonis
Assistant curator: Faidra Vasileiadou
Location: Kunstraum am Schauplatz, Wiener Art Foundation, Vienna
Opening: 30/04 at 19:00
Duration: 01/05/2019 – 28/05/2019

In Splendor (Gradivo)

In Splendor (Gradivo), 2018

lores insplendor overview red double

 

Gradiva

‘Les surréalistes ont été fascinés par les jeunes femmes criminelles. Par l’anarchiste Germaine Berton qui avait révolvérisé un rédacteur de L’Action française. Par Violette Nozières qui avait empoisonné père et mère, un père qui l’aurait violée quand elle avait douze ans. Par les deux sœurs Papin, qui massacrèrent leurs deux patronnes, leur arrachant les yeux, leur écrasant la tête.
[Ici] le portrait de trois femmes sans lesquelles l’histoire et l’imaginaire du groupe surréaliste n’auraient pas été ce qu’ils furent.
Deux de ces femmes relèvent de l’imaginaire :
l’actrice Musidora, qui ne se prive pas de conduire des actions criminelles dans le film Les Vampires,
le personnage de roman Gradiva que les commentaires de Freud ont rendu célèbre.
La troisième femme est réelle, trop réelle, et se nomme Nadja ou plutôt Léona Delcourt.’

-La femme et le surréalisme, Philosophie et surréalisme par Georges Sebbag

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Reproduction of the Gradiva which hung next to Freud’s Couch. Photo by Edmund Engelman, 1938

Marcel Duchamp designed a glass door for André Breton’s gallery ‘Gradiva’.
André Breton writes: ‘You entered the store through a glass door that had been designed and executed by Marcel Duchamp, whose opening silhouetted, as their shadows might, a rather large man and a noticeably smaller and very slim woman, standing side by side.’

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André Breton et Marcel Duchamp devant la galerie Gradiva, 31 rue de Seine à Paris, en 1937

On view: ‘Garden Variations: From outside to inside and vice versa’
At The Symptom Projects //// On 15/09/2018 – 30/09/2018 //// Curated: Nikos Papadopoulos and Faye Zika //// Artists: Ianthi Aggelioglou, Alexandros Alekidis, Petros Batsiaris, Lizzie Calligas, Panos Charalambous, Prodromos Charalampidis, Martha Dimitropoulou, Espantapajaros project, Penny Gkeka, George Gyparakis, Evi Kalogiropoulou, Christos Kalogiros, Xanthi Kostorrizou, Anna Lascari, Andreas Lyberatos, Despina Meimaroglou, Maro Michalakakos, Vasilis Pafilis, Tereza Papamichali, Rena Papaspyrou, Katerina Papazisi, George Skylogiannis, Fani Sofologi, Efi Spyrou, Yannis Theodoropoulos, Artemis Vasilopoulou, Theodoros Zafeiropoulos