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National Gallery of Albania / Strategies and Tactics

Title: Strategies and Tactics
Date: 30 July –31 August 2015
Venue: National Gallery of Albania

White House Biennial and the National Gallery of Albania present :  

 Strategies and Tactics / Exhibition of Slovak videoart

On 30 July 2015, 19.00 the National Gallery of Arts is pleased to open to the public in its temporary exhibitions wing the exhibition "Strategies and Tactics / Exhibition of Slovak videoart". The exhibition reflects an ongoing collaboration between the National Gallery of Arts and the White House Biennial, an international artistic platform based in Athens, Greece.

The White House Biennial (WHB) was launched in 2010 in Athens, among dozens of demonstrations and austerity protests as an artistic reaction to the continuing period of the deep financial and ethical crisis in which the country where Democracy was born is going through. Exercises on Democracy, the current edition of the WHB, questions the revolutionary role of art and its power to affect sociopolitical changes, posing the crucial question of the definition and remodeling of Democracy.

Within the conceptual framework of Exercises on Democracy, the White House Biennial is going to present at the National Gallery of Albania, a multi-layered international program of activities, extended in two separate exhibitions. Strategies and Tactics, the first show, focuses on a wide range of Slovak video artists, under the curating of Lýdia Pribišová.

Strategies and Tactics

Artists: Anton Čierny, Pavlína Fichta Čierna, Iva Durkáčová, Oto Hudec, Martin Kochan, Daniela Krajčová, Tamara Moyzes, Ilona Németh, Lucia Nimcová, Tomáš Rafa, Shlomi Yaffe, Anabela Žigová.

One could say that today artists are experts of a sort in conceiving new alternatives and finding inventive, unconventional ways of surviving. Our neo-liberal society, based on the dynamics of capital, hardly recognizes the symbolic or "intangible" value of art, artists being forced either to ally with the market or occupy a marginal position in society that does not allow them to make a living from their very profession, art. This situation compels artists to employ and develop innovative structures of existence. This topic appears in the work of many artists in a broad range of forms. They look for creative ways and tactics to find their way in society. In their works, they often relate to and thematise the tactics of survival of minorities and powerless people, such as immigrants, Roma, people persecuted by totalitarian regimes and so on.

The main theme of the exhibition, a selection of Slovak contemporary video art, is based on the contraposition of strategy and tactics. Distinctions between them were proposed by the French philosopher Michel de Certeau in his book The Practice of Everyday Life (1984).

Strategy, in military terminology, is the domain of established superiority and of influence that is already partially affirmed; it is the program of leadership of the collective towards major conquests; it is the long-term plan of those who have the time and general knowledge to create a theoretical formulation. Strategy is the identification of key campaigns that are necessary to accomplish the main objective. Strategy means control (of a city, of an institution etc). According to de Certeau, the development of strategy emanates the purview of power. The exercise of strategy is connected with a place that can be circumscribed as a proper and thus serves as a basis for generating relations with exterior subjects. He argues that tactics are opposed to strategy. The place of tactics belongs to the other. So since the user of tactics has no base, tactics depend on time. That means flexibility, a combination of heterogeneous elements. 

In contrast to strategy, de Certeau claims, tactics are the purview of the non-powerful. Tactics are more an adaptation to the environment, which has been created by the strategies of the powerful. It implies the creative processes as sharing and cooperation. Tactics are more partial, more contingent, consisting of adequate negotiation of the moment; they are the methods of the minority, actions that are intentional yet intuitive, and often more elastic and exploratory in relation to the objective. They are in a permanent and constant state of reassessment and correction.

The artists in this show use tactics of their own invention to detect and expose the strategies of mainstream society, and especially its utilitarian strategies. The artists' counter-actions show empathy, humor and flexibility. Through these instruments, various political strategies are shown to be empty and self-referential. As the control of strategy is never perfect, art is helping to find these gaps in the system.

Curator  Lýdia Pribišová

Thursday, 30 July 2015, 11.00 am, there will be a press and media conference in the National Gallery with the curator.

The Kennedy Bunker

Arab Guggenheim Museum and the White House Biennial present:

The Kennedy Bunker

A project by Nicos Charalambidis

17 May– 14 June 2014

REH TRANSFORMER Kopenhagener str. 17, 10437, Schönhauser Allee, Berlin, Germany




Τhe Arab Guggenheim Museum, is  the predominant name by which the Hollow Airport Museum has been widely known, emphasizing on the sociopolitical connections of Cyprus, where the Museum is located, with the Middle East and the nearby Arab countries. HAM, which plays the role of a cultural meeting point of the area, emblematically houses its activities at the abandoned International Airport, in the contested zone – the Green Line – that divides the island in two, as a result of a violent and catastrophic war in 1974, between Greek-Cypriot and Turkish military forces.

Airports, airplanes and the cross Atlantic journeys, have been the symbol of progress and evolution from the end of nineteenth until  the first half of the twentieth century; but it was only  in Kennedy’s glorious era that the apotheosis of the sky conquest would have reached its peak, stigmatizing every aspect of everyday reality, literature and art, architecture and fashion. Everything real progressive and advanced should had been connected with the space achievements and the human desire to explore the planetary system.

Having Kennedy’s bunker as starting point of reference, the participating artists are called to present different approaches and positions with regard to the motif and functions of a contemporary civil refuge. The artists may draw inspiration from a wide array of archetypical sources, extending from the claustrophobic Platonic cave to the argophilia of the One-Way Mars Colony Project.

Nowadays, on the verge of a new cold war and while the sight of our planet from Mars may seem to be a routine, what is tomorrow‘s perspective? Just what is that makes space getting so critical, so politicized?

Artists: Moataz Nasr (Egypt), Olaf Nicolai (Germany), Robert Wilson (USA), Khaled Hourani (Palestine), Tarohei Nakagawa, Yukihiro Taguchi, Ryusuke Kido, Tomoyuki Ueno, Kiyomi & Tetsuhiro Uozimi, Kanako Ishii (Japan), Helidon Gjergji (USA- Albania), Thierry Geoffroy Colonel (Denmark), Mounir Fatmi (France-Marocco), Baptiste Debombourg (France), Txuspo Poyo, Orlando Britto Jinorio (Spain) Adrian Scicluna (Malta),  Juraj Dudas, Erik Binder, Svatopluk Mikyta, Zorka Lednarova (Slovakia), Democracia (Spain), Lia Lapithi, Maria Papacharalambous, Achilleas Kentonis (Cyprus), Driant Zeneli, Artan Shabani (Albania), Kostas Sahpazis, Dionisis Christofilogiannis, Yioula Chatzigeorgiou, Eva Marathaki, Evangelos Kaimakis, Panos Charalambous, Giorgos Papadatos, Eva Mitala, Efi Spyrou, Artemis Potamianou, Aggelos Skourtis, Pantelis Chandris,  Nikos Papadopoulos, Stelios Alexakis, Dimitrios Antonitsis, Maro Michalakakos, Nikos Larios, Lito Kattou (Greece)  Workshops: Andreas Lyberatos, Chantzis Christos, Ifigeneia Mavridou, Marios Pavlou, Voula Karampatzaki, Ioannis Nestoros.


Thierry Geoffroy Colonel performance THE EMERGENCY WILL REPLACE THE CONTEMPORARY,  "THE AWARENESS MUSCLE HAS TO BE TRAINED EVERYDAY " : May 24th 2014 (16:00-18:00).   (see more here)

Dorian Batycka and Celeste Pimm performance: May 30th 2014 (19:00-21:00). Dorian Batycka and Celeste Pimm following their Resonant Zenith, part of Maldives Pavilion Events, 55th International Venice Biennale presents the Reichsbanknote at the Kennedy Bunker in Berlin.


Flash Art CZSK 32.33 2014, page 62 63, The Kennedy Bunker, 2014  

A Cabinet of Democratic Curiosities (White House Biennial, Berlin 2014), Dorian BatyckaNR. 1802014   

NEu Times, Vol.45, 42-59 pages, 2014        

sugarhigh, fly the flag fantastic, 2014        

ARTSY, Arab Guggenheim Museum and the White House Biennial present: The Kennedy Bunker, 2014      

Bear Riker's Berlin: The Kennedy Bunker, 2014      

Vernissagen und Art News in Berlin. THE KENNEDY BUNKER @ REH-transformer,2014    


Exercises on Democracy

Title: Exercises on Democracy
Date: 1 June –10 July 2013, 7 September - 12 October 2013
Venue: open C.A.S.E. 303

Hollow Airport Museum, the alternative School established several years ago by Nicos Charalambidis at the abandoned Nicosia’s airport, bringing the Green Line to life, presents in a special booth at ART ATHINA 16-19 May 2013, a selection from the group of important artists who will participate in an extensive series of international exhibitions at a number of Museums, Galleries and other alternative exhibition venues under the curatorial of Orlando Britto Jinorio and co-curated by Maria Stathis and Sotiris Bahtsetzis.

Multilevel events lasting two years, will take place within the framework of the extended project www.whitehousebiennial.com under the general title: Exercises on Democracy.

Noteworthy is that at the ART ATHINA booth works of Pablo Picasso will be presented, the artist whose name and oeuvre are associated more than anyone else with Democracy and the struggles against dictatorship. The works, courtesy of the the NAKAGAWA COLLECTION in Tokyo, will accompany the work Picasso in Palestine by Khaled Hourani that received the best reviews at the recent DOCUMENTA in KASSEL. On this first cycle of exhibitions for the next two years, Nicos Charalambidis gives the general title "Exercises on Democracy" inviting the artists to create works having in mind the decline of democratic values ​​as it is linked to the global economic recession of our days. The exhibitions after ART ATHINA, 1st of June​ - 10th of July 2013, will continue at the open C.A.S.E. 303, a new three-stores exhibition space on Kifissias Avenue 303, Kifissia, inaugurating the space.

Artists: Khaled Hourani, Moataz Nasr, Helidon Gjergji, Sandra Ramos,Ilona Nemeth, Baptiste Debombourg, Txuspo Poyo, Eric Valette, Juraj Dudas,DEMOCRACIA, Ai WeiWei, Olaf Nicolai, Savvas Christodoulides, Driant Zeneli, Radu Cioca, Oana Farcas, Paramanenko, Artan Shabani, Marco Fantini, Dritan Hyska, Nicos Tranos, Mounir Fatmi, Danielle Le, Nicos Charalambidis, Eirini Tsachrelia, Ioannis Oikonomou, Dimitra Tsachrelia, Achilleas Kentonis, Maria Papacharalampous,Yiannis Theodoropoulos, Caroline May, Nikos Papadopoulos, Aggelos Skourtis, Kostas Tsolis, Rika Krithara, Vasilis Vasilakis, Dimitris Papachristos, Chariklia Chari, Artemis Potamianou, Giorgos Papadatos, Eva Marathaki, Lito Kattou, Dimitrios Antonitsis, Ioanna Pantazopoulou, Nate Lowman, Dash Snow,Giorgos Tserionis, Paki Vlassopoulou, Eva Mitala, Ryusuke Kido, Stelios Karamanolis, Tula Plumi, Dionisis Christofilogiannis, Kostas Roussakis, Thanos Kyriakidis, Yiannis Grigoriadis, Yiannis Isidorou, Kostas Emmanouilidis, Nikos Larios, Andreas Lyberatos, Thanos Triantos, Yioula Chatzigeorgiou, Andreas Savva, Babis Karalis, Ioanna Myrka, Danae Stratou

Nocheleia: the C.I.A. Project

Title: NOCHELEIA: the C.I.A. Project
Date: 2006
Venue: Turner Contemporary Art, London


NICOS CHARALAMBIDIS, Interviewed by Vassilika Sarilaki *
The career of Nicos Charalambidis, the multitalented and subversive artist, has shot into orbit in recent years. London’s Turner Contemporary Art will be showing a new, powerful, politically charged exhibition of his work throughout the summer as part of a multi-faceted project including reconstructions of emotionally-charged monuments, the Nicosia wall, video, workshops and a hosting platform with invited artists, including Walid Raad, Artur Zimijewski, Diego Perrone and the Atlas Group. Moreover, autumn brings with it the São Paolo biennale…
_You are preparing an important exhibition at Turner Contemporary Art in London . In this new political/interactive installation, you make a core reference to the Nicosia wall, to the Situationists, the anti-architecture of the Sixties, and more. How do all of these relate to the overall concept, and how do you use the Turner’s space?
Let’s start with the title, “NOCHELEIA: The C.I.A. Project”, which gives the viewer the impression that what they are about to see relates to some CIA secret mission with a Greek codename: “nocheleia” [languor]. It’s obviously an oxymoron I chose deliberately as the Social Gym, the activist programme of actions I follow, challenges social inertia and passivity of exactly this sort.
The C.I.A. Project (Cultural Imperialistic Activities), on the other hand, references the troubled situation in Cyprus and the Middle East . It is significant that the artists hosted by the project are the Atlas Group.

_In Green Line, your artistic intervention from 1989, you reference the Situationists. Now you are returning to them. What direction is this going to take?
The exhibition focuses on the Situationists, and especially on Cedric Price, the famous London architect who spent a lot of time working on funfairs and places of entertainment. The area around the Turner has long been dominated by this sort of carefree atmosphere, and it is home to Europe ’s most famous funfairs--which have now been declared protected monuments. Architecture students from Canterbury University will link their projects to the subject-matter of this exhibition. The workshops are one of the parallel activities, as is the performance with the Gurkhas, the British brigade currently escorting the Prince of Wales in Iraq .

_Will the exhibition follow your usual practice and feature a range of constructions and videos?
Video projections are a central part of the exhibition, as is the reconstruction of the monument to Rosa Luxemburg and Karl Liebknecht the Communist Party commissioned from Ludwig Mies van der Rohe in 1926, and which the Nazis destroyed shortly afterwards. Mies emigrated to new York , and it wasn’t long before he was being described as one of America ’s leading architects. But that monument continued to be a black mark against his name. They say the CIA tried to spirit the blueprints for the monument away, and Mies was forced to carefully suppress all mention of this project.

_Yes. There are some dark areas. Jean-Louis Cohen recently wrote that Mies made the monument, but flirted with the Nazis at the same time. If we also bear in mind that he took over as director of the Bauhaus in 1930, immediately after H. Mayer (the former director) fled to the Soviet Union after the Nazis subjected him to particularly savage attacks, we can conclude that Mies was accepted by them to some extent…
The exhibition highlights exactly these contradictions. The monument to Communism is contrasted directly with the subject-matter and title of the exhibition, which alludes to the CIA. On the other hand, the installation’s interior space, which is like a cave, is useful as a refuge, as a dark video booth for the forbidden (in Europe) films of an artist from the Atlas Group, Souheil Bachar, who was held hostage in Lebanon for 10 years.

_So it’s a purely political exhibition, if you consider that it refers to a period of political ferment: from 1919 (Luxemburg’s murder, establishment of the 3rd International and Mussolini’s fascist party, revolutions in Central Europe) to 1926, the year of the Mies monument. Coincidentally, Fritz Lang made Metropolis, the inspiration for the use of the replica in your works, in the year the monument was built. Meaning that in your house in 1990 you made the first replica of Mies’ Barcelona Pavilion, which you later used in various installations, at the Venice biennale etc. Why the insistence on symbolically reconstructing historically charged monuments?
It’s interesting to take a look at the history of the pavilions and the constructions designed from the 19th century on for one international exhibition or another. Many were never actually built (Tatlin’s monument, for example), and the great majority were destroyed when the event ended (like the Barcelona pavilion). The Eiffel Tower is one of only very few that fate smiled on. I am particularly moved by an era’s destroyed constructions/symbols. Nicosia airport, Berlin ’s Kant Garage, the Philips Pavilion, Kurt Schwitters’ Merzbau, Konstantinidis’ wrecked Xenia hotels... The war on Cyprus in the Seventies was fought against a backdrop of Modernist buildings. One of my most intense childhood memories is of Nicosia airport. My first experience of aeroplanes, the first escalators, which my child’s eyes imagined as slides in a playground, the round Pop armchairs that looked like amphorae, the glass room from which you could look down on the departure lounge and keep your loved ones in sight until the very last minute… all of this transformed the building into a magic Disney Land building. Years later, I began to realize that in addition to my experiences of Cyprus ’ brutally levelled Modernism, many of the most typical examples of this period had been left to their fate, abandoned and deserted. When I visited Le Corbusier’s Unite in Marseilles in 1990, I was struck by the terrible state it was in; it looked like a refugee complex. The references to this period take on an allegorical character in my work, highlighting the politics of modernism, the strategies of the Cold War.

_Meaning that another factor that seems to have intrigued and aroused your interest in working with the Rohe monument, is the architect’s declaration that he made it out of everyday bricks, reproducing a wall against which they had executed dozens of Berlin Communists… The wall concept you employ so often and the idea of violent separation dominate your work. The division of Ireland and of Palestine , the underground shelters, the Taliban prisons, are your subjects par excellence. So today, now that political art is back in fashion, what do you have to say about the numerous artists and curators who are resorting to a belated interest in Cyprus ’ Green Line?
It is, unfortunately, true that after Cyprus was officially selected to host the Manifesta, curators and artists—most of them Greek, unfortunately—discovered the Greek Line somewhat late, and displayed a delayed interest in the island’s political problems in a climate of unconcealed opportunism. Ultimately, you could probably say not even the three Manifesta curators managed to grasp the singular political situation on Cyprus . Indeed, one of them requested that his department take up residence in the occupied North in disregard of the official Cypriot government that had invited him, and asked the refugees taking part to pass through the road blocks every day, and thus have their passports stamped with the visa of the illegal government of Northern Cyprus .
_Having kept a close eye on your work and aware of the requests you have submitted from time to time to the Cypriot Ministry of Culture to stage cultural events on the Green Line—none of which have come to anything, I was truly sorry and considered it unfair that you were not invited to take part in the Leaps of Faith exhibition. Especially since your exhibition at the Venice Biennale dealt, once again, with the Green Line…
I was less annoyed by my not participating in the exhibition than by the provocative—and deliberate—silencing of my work at the parallel conference and the non-inclusion of my work in screenings of political works and interventions. The worst thing of all was the argument put forward by the curators, who said I couldn’t take part because I was a Greek artist.
Of course, Hussein Chalayan, who has lived in London since he was a child and who has officially represented Turkey , was automatically considered a Cypriot…
_What can I say? Let’s move on to something more pleasant. What will you be showing at the São Paolo Biennale?
I will dismantle three specific barrel-barricades on the Nicosia Green Line and will transport the barrels to São Paolo, setting the tone of this year’s event, whose central title is “How to Live Together”.
* Nikos Charalambidis’ exhibition at the Turner Contemporary Art in London will be on for three months, from July until September. The São Paolo Biennale, this year entitled “How to Live Together”, will be held in October until December, 2006.
*Vassilika Sarilaki is an art historian.

Hollow Airport Museum - Centre Pompidou

Title: Hollow Airport Museum
Venue: Centre Pompidou

The Red and White flag Project

Title: The Red and White flag Project
Date: 18 September - 20 November 2013
Venue: Thessaloniki Biennale 4


The Red and White flag project is another one creative call of the White House Biennial. The participant artists are invited, this time, to design and produce their own flag choosing among two basic colors: the Red (for Revolution) and the White (for Peace). The final outcomes are going to be installed at the Oval Office. "The Red and White Flag Project" is part of the Thessalloniki Biennale 4 and the exhibition "Vasso Katraki: in Black and White" at the Teloglio Foundation of Arts AUTh. 


Participants: Democracia, Robert Wilson, Olaf Nicolai, Mounir Fatmi, Moataz Nasr, Nicos Charalambidis, Helidon Gjergji, Txuspo Poyo, Artan Shabani, Baptiste Debombourg, Dionisis Christofilogiannis, Yioula Chatzigeorgiou, Giorgos Papadatos, Eva Mitala, Efi Spyrou, Eirini Tsachrelia, Ioannis Oikonomou, Artemis Potamianou, Lito kattou, Eva Marathaki, Nikos Kanarelis, Aggelos Skourtis, Babis Venetopoulos, Nikos Papadopoulos, Andreas Lyberatos, Ioannis Dedes, Achileas Kentonis, Babis Karalis, Giorgos Tserionis, Maria Papacharalambous, Pela Kalogirou

Lidinos for Syria

Title: Lidinos for Syria, Lagini Workshops
Date: September 14 - 16 2012
Venue: Eynardeion, Aegina

ARTISTS: Nikos Charalambidis, Giannis Charitidis, Dionisis Christofilogiannis, Ioannis Dedes, Kostas Emmanouilidis, Giorgos Goulias, Pavlos Habidis, Voula Karampatzaki, Ryusuke Kido , Filippos Koutsaftis, Nikos Larios, Olia Lazaridou, Tarohei Nakagawa, Ioannis Nestoros, Angelos Papadimitriou, Georgia Sagri, Aspasia Syrigou  

PARTICIPANTS: Paraskevi Annousi, Eugenia Asimakopoulou, Maroula Baharidou, Ismini Chrysochoou, Anastasia Dimoulaki, Anastasia Ferentinou, Despoina Giannouli, Mari Katsika, Stavros Koumoutsos, Eleni Moniodi, Kostis Lieros, Ioanna Papageorgiou, Giorgos Papamatthaiakis, Alkis Peppas, Thodoris Pitsilis, Loukas Protopapas, Thalia Sahinidi, Mario Salata, Ksanthi Sotiraki, Eleni Stavrotheodorou, Vassiliki Tantaoui, Ioanna Tsakanika, Konstantinos Tsimbouris

.. completed another edition of the HAM project recently at Palais de BOZAR in Brussels, the journey of the most precious Belgian embroidery continues to Aegina, where through years has been established as kopaneli. A small needle-work of Kopaneli’s purchasing value, not surprisingly, is higher than a gold jewelery. Deceiving the financial crisis, LaginiWorkshops / Exhibition explores the luxury existence of the embroidery through the bombing in Syria; making the whole procedure even more provocative ...Nikos Charalambidis

Through a linguistic device, Aegina is connected via Cyprus with Syria that is currently stricken by war. Peanuts, a typical product of Aegina, are called "chalepiana" in Cyprus, from the city of Aleppo (Chalepi) in Syria. The connection of these places on the map is realized by the work provided by laginiWorkshops, curated and based on a concept by Nikos Charalambidis.

... once, to tease my male architect associates, I invited them to my apartment to discuss business matters and I was talking to them while ironing my clothes... Zaha Hadid

Frankfurt Kitchen

Is it possible that everyday functions, movement or the necessary household work in the habitual space of our house, are predefined not so much by us but mostly of our own home? Is it possible that the design of our house, the furniture, the objects but also the utensils of household equipment, be decisively involved, apart from their initial role, in our routine?

Exceeding our mood and emotions, can they affect deeper our spirituality, consciousness, or even our ethics? Is it possible that a small household can comprise a small fortification of everyday resistance to the razing bourgeois power of the contemporary globalized civilization? Can it be the idiotype of a gym for our daily practice of those mechanisms that hold us alert? Are a subversive routine and an alternative lifestyle indispensable conditions for achieving general radicalness in social change? Is it possible that our house itself is indeed the beehive of revolt?

In an era of incontinent disposal and ethical recession, how paradoxical can the poetry of Evagoras Pallikarides seem; how strange and distant does the heroic lifestyle of him and his companions seem – the contenders of our recent history of resistance against the superpower of colonization? Is it possible for an old cabinet or the wooden bench of a kitchen to have their own renowned history, forming a model of an alternative lifestyle? "EOKA" (National Organization of Cypriot Fighters) fighters' hideouts were particularly attached to furniture and household equipment, like the legendary hideout-cabinet of Grivas Digenis. Placing the detergents and the plastic mopping bucket in the cabinet under the kitchen sink is typical of most households. Yet, in the kitchen of the photo they had a misleading role. No one could imagine that underneath them and the removable floor of the cabinet, there was a wooden ladder leading to the underground hideout-headquarters of EOKA.

Domestic Barricade

The hideout is an exercise to the participants, aiming to the final production of a Dovecote for the central square of the city of Aleppo in Syria. This dovecote is baptized as a symbol of peace, after having being first installed transitionally at Eleftheria Square of Nicosia. Designs, models and video-constructions will be exhibited around a central sculptural construction, given as a starting point for the projects. As signified by the title, Domestic Barricade, the construction is based on the idea of a barricade for every home! It comprises a kitchen bench manually revolving around a brace of barrels. So, it limits or liberates space, according to the user's or visitor's position. This sculpture refers to the improvised hideout of G. Digenis and the scientifically studied Frankfurt Kitchen.


The totemic architecture of the Dovecote is a reference to the scarecrow of Lidinos, symbol of the earthly rebirth, carrying the message of peace to warzone. This symbol of peace and freedom is directly connected to the events of Syria. One of the goals of the project is to collect and preserve visual material related to the Eleftheria Square, before its reconstruction by Zaha Hadid, such as concerts, demonstrations and talks that have marked the history of Cyprus. This square has been a very important centre of intense sociopolitical events and it's now redesigned by Hadid into a contemporary example of innovation in urban architecture. The Dovecot will be studied at a realistic scale and in relation to the model and aesthetic of the project by Hadid, so that the construction may be installed at a selected site in the square.


Hell as Pavilion

Title: Hell as Pavilion
Date: 27 February - 04 April 2013
Venue: Palais de Tokyo

Hell as pavilion / Hell as text / Hell as art practice / Hell as exhibition / Hell as method / Hell as modus operandi / Hell as modus vivendi / Hell as exodus

“Hell As Pavilion” is an exhibition that examines the question of “being contemporary” within a culture in crisis. It is conceived as a strange fresco gone wild, an inhabited migrant wall of “horrible mixtures,” which brings together Greek artists from various generations, explores a neglected field of rhizomatic relationships and unexpected affinities, and urges us to “read history in unforeseen ways,” to imagine into existence new mobile and minor networks. With a title inspired by the briefly glimpsed “HELL AS” in Jean-Luc Godard’s Film Socialisme, the Greek Pavilion could be understood as a fantasma, a premonition or a twinge of remorse, a disturbing idiorrythmy, the monster (teras) par excellence in the current temps des crises. The European bête noire hangs on a wall in an undetermined borderline condition considered here as a possible tactic; a laboratory of the para-logon (that which lies next to and beyond logos/ reason); a precarious position from which current takes on humanism, punishment, radicalization, the collective and the connective can be reexamined.

“Hell As Pavilion” can be perceived as a toolbox for the understanding of various Greek paraloga in the rather common and unsettled struggle to “be in” the present; as a chance to consider the viability of deviations, abnormalities and inconsistencies, in the xaos (chaos) of a situation where nations, states and all kinds of entities suspect and monster one another for economic misconduct and “lack of progress.” N.A.

CURATOR Nadja Argyropoulou


PROJECT TEAM Malvina Panagiotidi, Vassiliki-Maria Plavou, Yorgos Rimenidis

List of artists: Alexis Akrithakis, LoukiaAlavanou, Vlassis Caniaris, Savvas Christodoulides, Costis, Dimitris Dimitriadis, Antonis Donef, Andreas Embiricos, Nikos Engonopoulos, Haris Epaminonda, Stelios Faitakis, Takis Giannousas, Hollow Airport Museum (Nikos Charalambidis), Lakis & Aris Ionas (The Callas), Vassilis P. Karouk, Andreas Ragnar Kassapis, KavecS (Vana Kostayola & Kostis Stafylakis), AnjaKirschner & David Panos, Panos Koutrouboussis, Blind Adam (Thanos Kyriakides), Konstantinos Ladianos, Stathis Logothetis, Andreas Lolis, Panayiotis Loukas, Rallou Panagiotou, Nikos-Gabriel Pentzikis, Kostas Sahpazis, Saprophytes, Kostas Sfikas, ChristianaSoulou, Thanassis Totsikas, IraTriantafyllidou, Souzy Tros (Maria Papadimitriou), Iris Touliatou, Nanos Valaoritis, Marie Wilson-Valaoritis, Jannis Varelas, LydiaVenieri, Vangelis Vlahos, Kostis Velonis, Tassos Vrettos, Takis Zenetos Appendix Film : Antoinetta Angelidi, Costis, Constantine Giannaris, Alexis Damianos, Nicos Papatakis, Angelos Prokopiou & G.Hoyningen - Huene, Thanassis Rentzis, Kostas Sfikas, Eva Stefani, Stavros Tornes, Athina-Rachel Tsangari, Christos Vakalopoulos & Stavros Tsiolis.