The Biennale of Young Greek Architects is an event that has become an institution for the architectural world, in line with its activities to showcase and develop contemporary architectural thought and practice. The purpose of this event is to present a representative sample of the work produced by young architects, to showcase innovative approaches and practices and the exchange of ideas on the production of theoretical considerations and architectural oeuvre in Greece today. At the same time the event seeks to cultivate a sensibility in the general public concerning the issue of quality in the structured environment. The Biennale accepts entries from architects up to 45 years of age, including completed works or never-realised proposals, but not including student projects.
Wednesday, December 19, 2007
Benaki Museum: 5th Biennale of Young Greek Architects
The Biennale of Young Greek Architects is an event that has become an institution for the architectural world, in line with its activities to showcase and develop contemporary architectural thought and practice. The purpose of this event is to present a representative sample of the work produced by young architects, to showcase innovative approaches and practices and the exchange of ideas on the production of theoretical considerations and architectural oeuvre in Greece today. At the same time the event seeks to cultivate a sensibility in the general public concerning the issue of quality in the structured environment. The Biennale accepts entries from architects up to 45 years of age, including completed works or never-realised proposals, but not including student projects.
Sunday, December 16, 2007
1st International Biennale Mail Art - Larissa Greece
http://1st-mailart-greek-biennale.blogspot.com
"On the occasion the particular program, we call you in the “1st International Mail Art Biennale in Greece”.
The selected artwork will be the exposing material for the creation of the “1st Museum of Postal Art” in Greece. We would like this museum to be founded in Elassona, the city where the 1st International mail art exhibition was held under the title: “Psychedelic” (producer: Ioanna Papachristou, coordinator- curator: Thomai Kontou)"
"On the occasion the particular program, we call you in the “1st International Mail Art Biennale in Greece”.
The selected artwork will be the exposing material for the creation of the “1st Museum of Postal Art” in Greece. We would like this museum to be founded in Elassona, the city where the 1st International mail art exhibition was held under the title: “Psychedelic” (producer: Ioanna Papachristou, coordinator- curator: Thomai Kontou)"
Thursday, October 18, 2007
"One in ten"
Βαθμός, άριστα δέκα
της Μαρίας Κατσουνάκη - Καθημερινή, Τρίτη 16 Οκτωβρίου 2007
«Κυρίες και κύριοι, καλησπέρα! Σας παρουσιάζω την Πράσινη Κάρτα. Η Πράσινη Κάρτα δίνει στον κάτοχο δικαίωμα παραμονής και εργασίας στη χώρα. Αναναεώνεται κάθε τρεις μήνες ή κάθε έξι μήνες ή κάθε δώδεκα μήνες ή ποτέ...». Ο ηθοποιός κρατάει τη μεγεθυσμένη κάρτα στο χέρι του και την επιδεικνύει όπως τα προϊόντα στο telemarketing. Κεφάτα, με γρήγορο ρυθμό και μουσική υπόκρουση. Μόνο που ο Νταβίντ από τη Γεωργία, ο Κρις από τη Βουλγαρία και ο Ενκε από την Αλβανία είναι τρία νέα παιδιά, μετανάστες (μένουν στην Ελλάδα περίπου 10 χρόνια), απόφοιτοι όλοι δραματικών σχολών.
Η παράστασή τους, «Ενας στους δέκα», βασισμένη σε δικές τους, προσωπικές εμπειρίες, που παρουσιάζεται στο Θέατρο του Νέου Κόσμου, υπό τον γενικό συντονισμό και τη σκηνοθετική επιμέλεια του Λαέρτη Βασιλείου (μεγάλωσε στα Τίρανα, ζει στην Αθήνα), ανέβηκε πριν από λίγες ημέρες και ήδη η προσέλευση του κοινού είναι εντυπωσιακή. Οπως και η σύνθεσή του. Προχθές βράδυ, μεγάλοι σε ηλικία θεατές, κυρίες με φρεσκοχτενισμένο μαλλί, ταγιέρ, μεταξωτό μαντίλι και κοσμήματα «εξόδου», συνοδευόμενες από καθωσπρέπει κοστουμαρισμένους κυρίους, καταλάμβαναν σεβαστό ποσοστό στο, περιορισμένων θέσεων, υπερώον του θεάτρου.
Το θέαμα γυμνό, πικρό, σαρκαστικό, άλλοτε καταγγελτικό άλλοτε απελπισμένο, με οίστρο, με χιούμορ, με οργή, ανάμεσα στην αντίδραση και στη συμφιλίωση, την περιθωριοποίηση και την αφομοίωση. Μοναδικό σκηνικό, μια ελληνική σημαία που σχηματίζεται στον τοίχο από λαμπτήρες διαφορετικών μεγεθών. Αναβοσβήνει. Πότε φωτίζεται έντονα πότε ισχνά. Η πατρίδα, ως εικαστική εγκατάσταση. Αφοπλιστικό το εύρημα του Αγγελου Μέντη.
Και οι τρεις ερμηνευτές εναλλάσσονται στη σκηνή σε ρόλους ζωής. Σφουγγαρίζουν, καθαρίζουν, σερβίρουν, εκδίδονται («κάνω τα πάντα μόνο με 50 ευρώ, δεν είμαι ομοφυλόφιλος»), αλλάζουν όνομα, κοιτούν το κοινό, αναπολούν και χαμογελούν, θυμούνται και παγώνουν.
Ογδόντα λεπτά η διάρκεια του θεάματος, ένα διαρκές σφυροκόπημα. Στο τέλος χορεύουν: «Tu vuoi far l’ americano», του Ρενάτο Καροζόνε. Γέλιο και αμηχανία. Αλήθεια που συγκινεί και σε αφήνει μετέωρο. Το κοινό ξεσπά σε χειροκροτήματα. Οι πιο θερμοί θεατές είναι τα μεσήλικα - ηλικιωμένα ζευγάρια, που βλέπω γύρω μου. Φωνάζουν «μπράβο» και καλούν πολλές φορές τους ηθοποιούς στη σκηνή. Απορώ. Ισως από προκατάληψη. Η παράσταση την εξουδετερώνει.
People of no farewell, no return
by Iota Sykka - Kathimerini, Monday 15 October 2007
«We're the generation without farewell. We're the generation without return,» words by the early 20th century German author and playwright Wolfgang Borchert, are deeply rooted in the heart of stage director Laertis Vassiliou, a Greek-Albanian immigrant who has experienced identity problems. When the stage director Vangelis Theodoropoulos asked Vassiliou to continue experimenting along the lines of Slavomir Mrozek's «Les Emigres,» but with a greater focus on second-generation concerns, he immediately agreed. «Les Emigres,» which was staged at Theodoropoulos's Neos Cosmos Theater in Athens just over four years ago, was a success, not only because it won an award for direction at a Balkan drama festival, but also because it managed to draw both Greek and Albanian audiences to the theater.
Vassiliou, who is preparing to act in upcoming National Theater productions, is directing his latest play, «One In Ten» after penning a raw version of its script, based on personal experience, which was then adapted by Sylvia Liouliou. It features an all-immigrant cast.
«We focused mostly on the psychology of the protagonists - how Greek, Bulgarian, Russian, or Albanian they are. And the discrepancies between their world at home and the outside world,» noted Vassiliou.
The three characters introduce themselves by their real names and pull us into day-to-day matters which contain both humor and awkward truth. The trio presents a variety of situations from the time they first arrived until the present, as individuals now accustomed to contemporary European life. The difficulties they experienced in overcoming state bureaucracy to become legal residents is the play's foundation.
«These are stories of violence and action fueled by need, children forced to sell their bodies or pressured to change their names,» said Vassiliou. The action unfolds on an impressive stage set, a Greek flag formed by 900 light bulbs, created by Angelos Mentis for the modest confines of the Neos Cosmos Theater.
Vassiliou, 33, arrived here in 1994 to sit exams for the National Theater after having studied at the Drama Academy in Albania. He began collaborating with Greek theater director Theo Terzopoulos as a first-year student here. More work with various others followed.
David Maltese, one of the three cast members, is a musician who recently turned to theater. «It was difficult [adjusting here] at first. I also had a complex about myself. Now I think like a Greek and have come to comprehend racism. They could have responded similarly to a case of mass immigration in my homeland,» said the 30-year Maltese, who moved here from his native Georgia a decade ago. «But I've adjusted. All my relationships have been with Greek women. I'm going to go on living in this country so I'm obliged to learn the reality.»
Three years his senior, fellow cast member Kris Radanov relocated here from Bulgaria seven years ago. «I'm turning my dream into a reality. I studied at Iasmos drama school and am now performing for the first time. On stage you virtually live the truth of the lives of others. 'One In Ten' contains our life stories,» said Radanov. «I get more emotionally affected by the stories of other people, perhaps because mine have passed. It was difficult in Bulgaria. Communism fell, nothing was certain, and our lives were predetermined.» Ekeleid Fezolari, the youngest cast member at 26, was the first of the three actors to arrive here 15 years ago, when his family decided to move here. He graduated from the State Theater of Northern Greece and quickly began performing. «I often got condescending remarks at high school and when I tried to get organized politically I was pursued by supporters of Chrysi Avgi [extreme rightist group]. I got beaten up badly. Maybe it wouldn't have been as intense had I been from another country,» he noted. «I went through a stage where I would hide my name, have an identity complex, and experienced a tough time trying to get my papers. All this is covered in the play.»
Vassiliou's decision to focus on theater raised no objections with his family. His father, an Albanian married to a Greek woman, was simply glad that his son did not become a soccer player, the artist said.
«For us who arrived here from the Eastern bloc, there's general sympathy, perhaps because of the academies we had, the Stanislavski system which is particularly admired in the West,» said Vassiliou.
«But that applied only to theater. Like the others, I also carried what I was in public places. I had to deal with a bad reputation that was generated in the early 90s when 1.5 million Albanians were going in and out of Greece. Of course, not all of them came out here to work. Like yourself, who has nothing in common with a Greek inside Korydallos Prison, I also don't have anything in common with my compatriots imprisoned there. But anything foreign always generates fear,» he continued.
When asked about his nationality as a new arrival here, Vassiliou would respond, «Greek-Albanian.»
«Then they'd tell me that that doesn't exist. And I would wonder: 'Why, then, do Greek-Americans and Greek-Australians exist?'»
The question of identity, or whether an immigrant opts for assimilation or isolation, is one of the issues raised in «One In Ten.»
«I've been living in Greece for 13 years, I pay taxes here, but don't have Greek citizenship,» protested Vassiliou, who ended the interview with a related joke. «A primary school teacher asks a young child for his name. 'Agim,' he responds. 'What kind of a name is that? We'll call you Antonis,' the teacher responds. The boy returns home, his father calls him using his real name, but the youngster doesn't respond, not even when his mother calls. They give him a bit of a beating and he goes to school the next day with a mark on his face. The concerned teacher asks, 'What happened to our little Antonis?' 'Oh nothing, I was just beaten up by a couple of Albanians at home.'»
της Μαρίας Κατσουνάκη - Καθημερινή, Τρίτη 16 Οκτωβρίου 2007
«Κυρίες και κύριοι, καλησπέρα! Σας παρουσιάζω την Πράσινη Κάρτα. Η Πράσινη Κάρτα δίνει στον κάτοχο δικαίωμα παραμονής και εργασίας στη χώρα. Αναναεώνεται κάθε τρεις μήνες ή κάθε έξι μήνες ή κάθε δώδεκα μήνες ή ποτέ...». Ο ηθοποιός κρατάει τη μεγεθυσμένη κάρτα στο χέρι του και την επιδεικνύει όπως τα προϊόντα στο telemarketing. Κεφάτα, με γρήγορο ρυθμό και μουσική υπόκρουση. Μόνο που ο Νταβίντ από τη Γεωργία, ο Κρις από τη Βουλγαρία και ο Ενκε από την Αλβανία είναι τρία νέα παιδιά, μετανάστες (μένουν στην Ελλάδα περίπου 10 χρόνια), απόφοιτοι όλοι δραματικών σχολών.
Η παράστασή τους, «Ενας στους δέκα», βασισμένη σε δικές τους, προσωπικές εμπειρίες, που παρουσιάζεται στο Θέατρο του Νέου Κόσμου, υπό τον γενικό συντονισμό και τη σκηνοθετική επιμέλεια του Λαέρτη Βασιλείου (μεγάλωσε στα Τίρανα, ζει στην Αθήνα), ανέβηκε πριν από λίγες ημέρες και ήδη η προσέλευση του κοινού είναι εντυπωσιακή. Οπως και η σύνθεσή του. Προχθές βράδυ, μεγάλοι σε ηλικία θεατές, κυρίες με φρεσκοχτενισμένο μαλλί, ταγιέρ, μεταξωτό μαντίλι και κοσμήματα «εξόδου», συνοδευόμενες από καθωσπρέπει κοστουμαρισμένους κυρίους, καταλάμβαναν σεβαστό ποσοστό στο, περιορισμένων θέσεων, υπερώον του θεάτρου.
Το θέαμα γυμνό, πικρό, σαρκαστικό, άλλοτε καταγγελτικό άλλοτε απελπισμένο, με οίστρο, με χιούμορ, με οργή, ανάμεσα στην αντίδραση και στη συμφιλίωση, την περιθωριοποίηση και την αφομοίωση. Μοναδικό σκηνικό, μια ελληνική σημαία που σχηματίζεται στον τοίχο από λαμπτήρες διαφορετικών μεγεθών. Αναβοσβήνει. Πότε φωτίζεται έντονα πότε ισχνά. Η πατρίδα, ως εικαστική εγκατάσταση. Αφοπλιστικό το εύρημα του Αγγελου Μέντη.
Και οι τρεις ερμηνευτές εναλλάσσονται στη σκηνή σε ρόλους ζωής. Σφουγγαρίζουν, καθαρίζουν, σερβίρουν, εκδίδονται («κάνω τα πάντα μόνο με 50 ευρώ, δεν είμαι ομοφυλόφιλος»), αλλάζουν όνομα, κοιτούν το κοινό, αναπολούν και χαμογελούν, θυμούνται και παγώνουν.
Ογδόντα λεπτά η διάρκεια του θεάματος, ένα διαρκές σφυροκόπημα. Στο τέλος χορεύουν: «Tu vuoi far l’ americano», του Ρενάτο Καροζόνε. Γέλιο και αμηχανία. Αλήθεια που συγκινεί και σε αφήνει μετέωρο. Το κοινό ξεσπά σε χειροκροτήματα. Οι πιο θερμοί θεατές είναι τα μεσήλικα - ηλικιωμένα ζευγάρια, που βλέπω γύρω μου. Φωνάζουν «μπράβο» και καλούν πολλές φορές τους ηθοποιούς στη σκηνή. Απορώ. Ισως από προκατάληψη. Η παράσταση την εξουδετερώνει.
People of no farewell, no return
by Iota Sykka - Kathimerini, Monday 15 October 2007
«We're the generation without farewell. We're the generation without return,» words by the early 20th century German author and playwright Wolfgang Borchert, are deeply rooted in the heart of stage director Laertis Vassiliou, a Greek-Albanian immigrant who has experienced identity problems. When the stage director Vangelis Theodoropoulos asked Vassiliou to continue experimenting along the lines of Slavomir Mrozek's «Les Emigres,» but with a greater focus on second-generation concerns, he immediately agreed. «Les Emigres,» which was staged at Theodoropoulos's Neos Cosmos Theater in Athens just over four years ago, was a success, not only because it won an award for direction at a Balkan drama festival, but also because it managed to draw both Greek and Albanian audiences to the theater.
Vassiliou, who is preparing to act in upcoming National Theater productions, is directing his latest play, «One In Ten» after penning a raw version of its script, based on personal experience, which was then adapted by Sylvia Liouliou. It features an all-immigrant cast.
«We focused mostly on the psychology of the protagonists - how Greek, Bulgarian, Russian, or Albanian they are. And the discrepancies between their world at home and the outside world,» noted Vassiliou.
The three characters introduce themselves by their real names and pull us into day-to-day matters which contain both humor and awkward truth. The trio presents a variety of situations from the time they first arrived until the present, as individuals now accustomed to contemporary European life. The difficulties they experienced in overcoming state bureaucracy to become legal residents is the play's foundation.
«These are stories of violence and action fueled by need, children forced to sell their bodies or pressured to change their names,» said Vassiliou. The action unfolds on an impressive stage set, a Greek flag formed by 900 light bulbs, created by Angelos Mentis for the modest confines of the Neos Cosmos Theater.
Vassiliou, 33, arrived here in 1994 to sit exams for the National Theater after having studied at the Drama Academy in Albania. He began collaborating with Greek theater director Theo Terzopoulos as a first-year student here. More work with various others followed.
David Maltese, one of the three cast members, is a musician who recently turned to theater. «It was difficult [adjusting here] at first. I also had a complex about myself. Now I think like a Greek and have come to comprehend racism. They could have responded similarly to a case of mass immigration in my homeland,» said the 30-year Maltese, who moved here from his native Georgia a decade ago. «But I've adjusted. All my relationships have been with Greek women. I'm going to go on living in this country so I'm obliged to learn the reality.»
Three years his senior, fellow cast member Kris Radanov relocated here from Bulgaria seven years ago. «I'm turning my dream into a reality. I studied at Iasmos drama school and am now performing for the first time. On stage you virtually live the truth of the lives of others. 'One In Ten' contains our life stories,» said Radanov. «I get more emotionally affected by the stories of other people, perhaps because mine have passed. It was difficult in Bulgaria. Communism fell, nothing was certain, and our lives were predetermined.» Ekeleid Fezolari, the youngest cast member at 26, was the first of the three actors to arrive here 15 years ago, when his family decided to move here. He graduated from the State Theater of Northern Greece and quickly began performing. «I often got condescending remarks at high school and when I tried to get organized politically I was pursued by supporters of Chrysi Avgi [extreme rightist group]. I got beaten up badly. Maybe it wouldn't have been as intense had I been from another country,» he noted. «I went through a stage where I would hide my name, have an identity complex, and experienced a tough time trying to get my papers. All this is covered in the play.»
Vassiliou's decision to focus on theater raised no objections with his family. His father, an Albanian married to a Greek woman, was simply glad that his son did not become a soccer player, the artist said.
«For us who arrived here from the Eastern bloc, there's general sympathy, perhaps because of the academies we had, the Stanislavski system which is particularly admired in the West,» said Vassiliou.
«But that applied only to theater. Like the others, I also carried what I was in public places. I had to deal with a bad reputation that was generated in the early 90s when 1.5 million Albanians were going in and out of Greece. Of course, not all of them came out here to work. Like yourself, who has nothing in common with a Greek inside Korydallos Prison, I also don't have anything in common with my compatriots imprisoned there. But anything foreign always generates fear,» he continued.
When asked about his nationality as a new arrival here, Vassiliou would respond, «Greek-Albanian.»
«Then they'd tell me that that doesn't exist. And I would wonder: 'Why, then, do Greek-Americans and Greek-Australians exist?'»
The question of identity, or whether an immigrant opts for assimilation or isolation, is one of the issues raised in «One In Ten.»
«I've been living in Greece for 13 years, I pay taxes here, but don't have Greek citizenship,» protested Vassiliou, who ended the interview with a related joke. «A primary school teacher asks a young child for his name. 'Agim,' he responds. 'What kind of a name is that? We'll call you Antonis,' the teacher responds. The boy returns home, his father calls him using his real name, but the youngster doesn't respond, not even when his mother calls. They give him a bit of a beating and he goes to school the next day with a mark on his face. The concerned teacher asks, 'What happened to our little Antonis?' 'Oh nothing, I was just beaten up by a couple of Albanians at home.'»
Friday, October 12, 2007
Biennale is over, PPC_T/Farkadona is still here
Though the presence of PPC_T/Farkadona in 1st Biennale of Thessaloniki is over (photos) the project is not.
From a recent visit in the village, at the place of the (planned) new settlement, we saw that nothing has started yet. One of the reasons are the sheep pens whose owners do not want to move them from the place. It's tragic, when we see huge junctions with tunnels in Maliakos petal completed, and in Farkadona there is not even a single digger.
Its tragic.
From a recent visit in the village, at the place of the (planned) new settlement, we saw that nothing has started yet. One of the reasons are the sheep pens whose owners do not want to move them from the place. It's tragic, when we see huge junctions with tunnels in Maliakos petal completed, and in Farkadona there is not even a single digger.
Its tragic.
Tuesday, August 14, 2007
One World, Many Biennals
1
The blog http://nikosalexiou-ath.blogspot.com, is the blog of Nikos Alexiou, who exhibits the work The End in 52nd Biennale of Venice, the older and most famous Biennale of the world. This work is inspired by the mosaics of Iviron Monastery placed on Mount Athos peninsula which is the third "leg" of Chalkidi peninsula in Central Macedonia, Greece.
This work embodies everything that Alexiou was working on. The title The End was chosen for two reasons. The first reason is that when Alexiou finished it after working for ten or twelve years for AutoCAD, he saved the file giving it the name “THE END.” This title made him think of some things. There is something that excites your memory and makes you remember again. So, he remembered -and this is the second reason that the work was named “The End” – the title of one of Beckett’s beloved text and another beloved theater play by Dimitris Dimitriadis, which is entitled “New Church of the Blood,” which closes with an image that could have been his own work.
A cosmogony, a black hole that swallows everything or gives birth to everything. A universe that whirls, a paradisiacal garden that appears from the dark onto a black screen, which turns on and off. So the third reason for giving this title to the work is The End’s reference to the cinema, the screen. It is about this over and over again.
2
10 September of 2007 is the start day of the second greek Biennale after the one of Thessaloniki which is the first. This is the Athens Biennale. The last one forms with the Biennale of Lyon and the Biennale of Constantinouple (Istanbul) a triple axis of art during the last semester of 2007. The first action of this culture axis was the joint public presentation during the opening days of the 52nd Venice Biennale in the context of a discussion, entitled "The biennial is dead. Long live the biennial". In Athens Biennale the 1/5 of exhibitors, approximately 70 artists are Greek.
3
The XIII Biennale of Young Artists from Europe and Mediterranean was to be held in Alexandria but it was canceled so the organizers look for a city to host the event. The concept of the 13th BJECM is: "Our Creative Diversity: kairos " (Greek word pronounced keeros, meaning fit time, opportunity, a point in time where change is possible).
Closing up, we can see that this year, 2007, is an art time for Greece and Greek people. Never before was the greek participation, the greek culture and spirit so diffused in so many places. May the result of this liveliness, be good.
Sources:
1, Venice Biennale
2, Nikos Alexiou
3, Greek Culture Portal
4, Athens Bienniale
5, Thessaloniki Biennale
6, Biennale JCEM
The blog http://nikosalexiou-ath.blogspot.com, is the blog of Nikos Alexiou, who exhibits the work The End in 52nd Biennale of Venice, the older and most famous Biennale of the world. This work is inspired by the mosaics of Iviron Monastery placed on Mount Athos peninsula which is the third "leg" of Chalkidi peninsula in Central Macedonia, Greece.
This work embodies everything that Alexiou was working on. The title The End was chosen for two reasons. The first reason is that when Alexiou finished it after working for ten or twelve years for AutoCAD, he saved the file giving it the name “THE END.” This title made him think of some things. There is something that excites your memory and makes you remember again. So, he remembered -and this is the second reason that the work was named “The End” – the title of one of Beckett’s beloved text and another beloved theater play by Dimitris Dimitriadis, which is entitled “New Church of the Blood,” which closes with an image that could have been his own work.
A cosmogony, a black hole that swallows everything or gives birth to everything. A universe that whirls, a paradisiacal garden that appears from the dark onto a black screen, which turns on and off. So the third reason for giving this title to the work is The End’s reference to the cinema, the screen. It is about this over and over again.
2
10 September of 2007 is the start day of the second greek Biennale after the one of Thessaloniki which is the first. This is the Athens Biennale. The last one forms with the Biennale of Lyon and the Biennale of Constantinouple (Istanbul) a triple axis of art during the last semester of 2007. The first action of this culture axis was the joint public presentation during the opening days of the 52nd Venice Biennale in the context of a discussion, entitled "The biennial is dead. Long live the biennial". In Athens Biennale the 1/5 of exhibitors, approximately 70 artists are Greek.
3
The XIII Biennale of Young Artists from Europe and Mediterranean was to be held in Alexandria but it was canceled so the organizers look for a city to host the event. The concept of the 13th BJECM is: "Our Creative Diversity: kairos " (Greek word pronounced keeros, meaning fit time, opportunity, a point in time where change is possible).
Closing up, we can see that this year, 2007, is an art time for Greece and Greek people. Never before was the greek participation, the greek culture and spirit so diffused in so many places. May the result of this liveliness, be good.
Sources:
1, Venice Biennale
2, Nikos Alexiou
3, Greek Culture Portal
4, Athens Bienniale
5, Thessaloniki Biennale
6, Biennale JCEM
Saturday, August 11, 2007
Summer off-mode
While certain appreciable colleagues deal with Summer of Code of Google, somewhere elsewhere is executed the situation Summer off-mode. Summertime out of operation, the airconditioner closed, the shutters lowered, and the television shutted down that if she is not satellite does not have nothing apart from certain appreciable shows. In this situation somewhere in Europe, in Greece, Thessalonica and specifically in one suburb, somebody works also distress for the Free Software and its distribution.
Re-use of old computer material in the framework of project PPC_T of/Farkadona in the 1st Biennale of Thessaloniki. In the above pictures there are two "naked" computers each matching a hard disk where was installed Edubuntu Linux (Feisty).
Re-use of old computer material in the framework of project PPC_T of/Farkadona in the 1st Biennale of Thessaloniki. In the above pictures there are two "naked" computers each matching a hard disk where was installed Edubuntu Linux (Feisty).
Thursday, July 5, 2007
Working hard alone
July 2 - Constructing working motherboards
July 3 - Restoring fallen photos of Claudette and art & crafts lab
July 4 - ...hmm. Today is a holiday.
July 3 - Restoring fallen photos of Claudette and art & crafts lab
July 4 - ...hmm. Today is a holiday.
Sunday, June 10, 2007
Not an ordinary day
Yesterday, four guys from Farkadona came to the Biennale space of PPC_T. Babis, Christos and other two that I don't remember their names right now. We had also a nice party dedicated to Carlos who is leaving today - he is going back in Brasil. Here are some photos from yesterday in Biennale space at Thessaloniki Port:
Also we learned from Hariklia Hari, the architect of the project that we had a publication in the english newspaper The Guardian:
One remarkable exhibit is a walk-in container parked in the port that displays photographs and videos of a three-year project to rehouse and integrate a community of Greek Pontians repatriated from the Black Sea in 1992 after the collapse of the Soviet Union. The ethnic Greeks were invited by the Greek government, says architect and curator Hariklia Hari, but were left for years to live in iron containers in Farkadona, Thessaly, in a guarded camp, because of an official policy regarding the dispersal of refugees. As a result of the project, and with government backing, she says, they have finally moved into housing of their own design.
Wow! What a day!
Also we learned from Hariklia Hari, the architect of the project that we had a publication in the english newspaper The Guardian:
One remarkable exhibit is a walk-in container parked in the port that displays photographs and videos of a three-year project to rehouse and integrate a community of Greek Pontians repatriated from the Black Sea in 1992 after the collapse of the Soviet Union. The ethnic Greeks were invited by the Greek government, says architect and curator Hariklia Hari, but were left for years to live in iron containers in Farkadona, Thessaly, in a guarded camp, because of an official policy regarding the dispersal of refugees. As a result of the project, and with government backing, she says, they have finally moved into housing of their own design.
Wow! What a day!
Monday, June 4, 2007
Iliad Homerus Book I
A brief photo documentation of the performance of Octavio Camargo and Claudette Pereira Jorge (Iliadahomero group - Curitiba Brazil), that was held at the Odeion of the Roman Agora of Thessaloniki, in the context of the Thessaloniki Biennale: 1 of Contemporary Art.Octavio and Claudette presented the first rhapsody of Homer's Iliad in the portugese translation of Manoel Odorico Mendes (1874), invited in Thessaloniki by the PPC_T/Farkadona project. This public performance of Homer's Iliad (an archetype of free knowledge with universal effect) in a portugese translation in Greece, evokes issues as the communication beyond language barriers and promotes the interaction between open culture projects.
Friday, June 1, 2007
Wednesday, May 30, 2007
Photos from the setting-up in thessaloniki
Enjoy (with caution) some of the photos are dangerous material!
viva maconha...
Tuesday, May 29, 2007
Minha maconha, minha família, minha galera
EU NÃO SOU DAQUI, MARINHEIRO SÓ, EU NÃO TENHO AMOR, MARINHEIRO SÓ, EU SOU DA BAHIA, MARINHEIRO SÓ, DE SÃO SALVADOR, MARINHEIRO SÓ, LÁ VEM, LÁ VEM, MARINHEIRO SÓ, COMO ELE VEM FACEIRO, MARINHEIRO SÓ!
TODO DE BRANCO, MARINHEIRO SÓ, COM O SEU BONEZINHO, MARINHEIRO SÓ!
TODO DE BRANCO, MARINHEIRO SÓ, COM O SEU BONEZINHO, MARINHEIRO SÓ!
Saturday, May 26, 2007
Friday, May 25, 2007
Another colaborator's websites...
Kostas, a guy from Thessaloniki that is a member of greek gnu/linux communities, take some pictures of the lab and the container of the ppc_t / farkadona in the port on thessalonik:
http://flickr.com/photos/40797268@N00
He also has a blog:
http://linux-noosphere.blogspot.com/
There are lots of pictures that Thiago Novaes took in:
http://picasaweb.google.co.uk/tnovaes
and also, our friends from orquestra organismo are trying to cross some information in Hackeando Catatau Blog.
http://flickr.com/photos/40797268@N00
He also has a blog:
http://linux-noosphere.blogspot.com/
There are lots of pictures that Thiago Novaes took in:
http://picasaweb.google.co.uk/tnovaes
and also, our friends from orquestra organismo are trying to cross some information in Hackeando Catatau Blog.
Biennale - PPC_T / Farkadona
PPC_T/Farkadona
Τί είναι αυτό που βλέπουμε και καλούμαστε να συμμετάσχουμε;
What is the installation?
1. Στο container στο λιμάνι:
1. At the container in the harbour
Υλικό πληροφόρησης, έρευνας και τεκμηρίωσης από το αρχείο του PCC_T/Farkadona. Το υλικό αυτό αποτελείται από αντικείμενα, φωτογραφίες, video, σχέδια, έντυπα κτλ. και αφορά στη μέχρι τώρα δράση της ομάδας και τη συνεργασία της με την κοινότητα των παλλινοστούντων Ελληνοποντίων από χώρες της πρώην Σοβιετικής Ένωσης, καθώς και με άλλες ομάδες ή φορείς (Gamb+I, Gudran, Cittadellarte, watercollection.net, ΥΠΕΧΩΔΕ κ.α.)
Documentation and research material from the archive of PPC_T/Farkadona. This material consists of objects, photos, video, designs, etc and refers to our action so far and our collaboration with the community of repatriated Greek-Pontians from former Soviet Union, as well as our collaboration with other groups or institutions (Gamb+I, HEL.L.U.G, Gudran, Cittadellarte, watercollection.net, Ministry of Public Works etc)
2. Στο χώρο του Παλαιού Αντλιοστασίου του ΟΛΘ:
2. At the space of the Old Plump house in the harbour:
Μια σειρά διεπιστημονικά εργαστήρια με κεντρικό θέμα "Συμμετοχικοί Μηχανισμοί και Διαδικασίες Αυτό-οργάνωσης: Οι Προϋποθέσεις του Μη-Σχεδιασμού". Στόχος των εργαστηρίων είναι η διερεύνηση νέων τρόπων παραγωγής, επεξεργασίας και διάδοσης πολιτιστικών προϊόντων (ρούχων, κοσμημάτων, new media objectrs, μορφών πολεοδόμησης και επαναχρησιμοποίησης υλικών του περιβάλλοντος, σχεδιασμός κατοικιών και πολιτιστικών ενεργειών σε δημόσιους χώρους κ.α.)
A series of interdisciplinary workshops on the topic of “Participatory Devices and Processes of Auto-organization: The Non-plan Condition”. The aim of these workshops would be to investigate new ways of production, elaboration and distribution of cultural products (clothes, jewelry, new media objects, forms of urbanization and reuse of environmental material, design of houses and cultural actions in public spaces etc)
Πως προέκυψε;
How did the project come up?
Το PPC_T/Farkadona, είναι ένα διεπιστημονικό αυτοδιαχειριζόμενο συμμετοχικό εγχείρημα. Απαρτίζεται από μία σειρά πολιτιστικές δραστηριότητες, εργαστήρια, μηχανισμούς αλληλεπίδρασης με το περιβάλλον και δημόσιων συμβάντων. Πρωτίστως, είναι επικεντρωμένο σε Καταστάσεις Εκτάκτου Ανάγκης, όπως εκείνη του οικισμού των παλλινοστούντων Ελληνοποντίων στη Φαρκαδόνα Τρικάλων...
Ο οικισμός δημιουργήθηκε στις αρχές της δεκαετίας του 1990, ως αποτέλεσμα μιας κρατικής πολιτικής περιφερειακής διασποράς των προσφύγων σε απομονωμένους καταυλισμούς. Δεκαπέντες χρόνια μετά την εγκατάστασης τους, οι ομογενείς κάτοικοι της κοινότητας εξακολουθούν να ζουν σε container, σε συνθήκες εξαθλίωσης, περιθωριοποίησης και "εξαίρεσης".
Θεμελιωμένο στην αντίληψη του τοπίου και του εδάφους ως "υποδοχέα" της ανθρώπινης δραστηριότητας και συνεκτικού χαρακτηριστικού κάθε πολιτιστικής δράσης, το PPC_T/Farkadona διερευνά τους τρόπους με τους οποίους η περιθωριοποιημένη κοινότητα μπορεί να ενταχθεί στο κοινωνικό περιβάλλον, στην οικονομική, πολιτιστική και πολιτική του ζωή, αναπτύσσοντας μια δική της δυναμική. Όλο το εκθεσιακό υλικό είναι αποτέλεσμα συνεργασίας με την κοινότητα των κατοίκων του οικισμού.
PPC_T/Farkadona is an interdisciplinary, self-administrated collaborative project. It consists of a series of cultural activities, workshops, devices of interaction with territory and public events. Moreover, it focuses primarily on Emergency Case Situations as seen at the settlement of the repatriated community of Greek-Pontians from the former Soviet Union in Farkadona, in the district of Trikala, Thessaly-Greece.
The settlement was created in the early 90s as a result of a state policy of peripheral dispersion of refugees in organized camps and units. Fifteen years after their rehabilitation the residents of the community still live under conditions of degradation, ghettoization and “exception”.
Based on the significance of territory as a “reception” of human activity, PPC_T/Farkadona examines the ways in which the marginalized community can be rehabilitated and incorporated in the existing landscape, the local society and in the economic, cultural and political life.
The material that will be presented at the exhibition is a result of our collaboration with the inhabitants of the community.
Πως υλοποιείται το project;
How is the project realised?
Κεντρικό μέσο υλοποίησης μιας τέτοιας αρθρωμένης κοινωνικής πολιτισμικής πρακτικής είναι τα εργαστήρια (workshops) που βασίζονται σε διαφορετικές δημιουργικές συμμετοχικές διαδικασίες, συμπεριλαμβάνοντς το τοπίο, τις νέες μορφές και τα δίκτυα πολιτιστικής παραγωγής. Τα εργαστήρια αυτά επικεντρώνονται σε τρεις συγκεκριμένους και αλληλοδιασταυρωνόμενους άξονες:
α) Στο σχεδιασμό, την παραγωγή και τη διανομή μιας σειράς χειροτεχνικών πολιτιστικών προϊόντων που αξιοποιεί και αναδεικνύει τις γνώσεις και την εμπειρία των κατοίκων της κοινότητας, κυρίως του άνεργου γυναικείου πληθυσμού (σχεδιασμός κοσμημάτων ρούχων, παραγωγή τοπικού φαγητού κλπ)
β) Σε διαφορετικές πρακτικές αυτό-οργάνωσης, εξοικοίωσης με τους ηλεκτρονικούς υπολογιστές και ελεύθερης πρόσβασης στο Διαδίκτυο, που βασίζεται στο γεγονός ότι στο ψηφιακό περιβάλλον της σύγχρονης εποχής παρέχει νέους τρόπους επικοινωνίας, διακίνησης πληροφοριών, γνώσεων και προϊόντων.
Central to the social practice concentration are the workshops which are based on diverse creative participatory processes including urban environment, new forms and networks of cultural production. These workshops are focused in three particular and cross-referential axes:
a) The design, production and distribution of a series of art&craft products that valorise the knowledge and experience of the people of the community and mainly that of the unoccupied female population (jewellery, clothes, local food etc).
b) In various practices of auto-organization concerning digital environments through getting familiar with new values of sharing intangible productions.
γ) Στο συμμετοχικό αρχιτεκτονικό σχεδιασμό του νέου οικισμού στον οποίο προγραμματίζεται να μετεγκατασταθεί η κοινότητα. Στο πλαίσιο αυτό, η ομάδα εργασίας συζήτησε και επεξεργάστηκε με τους κατοίκους της κοινότητας και άλλους αρχιτέκτονες τις απόψεις, τις ανάγκες και τις επιθυμίες τους για τις νέες κατοικίες.
c) The participatory architectural design process for the new settlement where the community will be rehabilitated.
Πότε ξεκίνησε;
When did it start?
2004
Ποιοί συμμετέχουν;
Who is participating?
Το PPC_T/Farkadona είναι μια διεπιστημονική ομάδα που βασίζεται στη συλλογική δράση και με ένα ευρύ δίκτυο συνεργατών, καλλιτεχνών, αρχιτεκτόνων και ακτιβιστών από την Ελλάδα, την Ιταλία, την Αίγυπτο, την Παλαιστίνη και τη Βραζιλία.
PPC_T/Farkadona is an interdisciplinary team that is based on collaborative actions together with an extended network of collaborators, architects, artists and activists from Greece and abroad.
Για περισσότερες πληροφορίες: http://www.ppc_t.gr
For more information: http://www.ppc_t.gr
Τί είναι αυτό που βλέπουμε και καλούμαστε να συμμετάσχουμε;
What is the installation?
1. Στο container στο λιμάνι:
1. At the container in the harbour
Υλικό πληροφόρησης, έρευνας και τεκμηρίωσης από το αρχείο του PCC_T/Farkadona. Το υλικό αυτό αποτελείται από αντικείμενα, φωτογραφίες, video, σχέδια, έντυπα κτλ. και αφορά στη μέχρι τώρα δράση της ομάδας και τη συνεργασία της με την κοινότητα των παλλινοστούντων Ελληνοποντίων από χώρες της πρώην Σοβιετικής Ένωσης, καθώς και με άλλες ομάδες ή φορείς (Gamb+I, Gudran, Cittadellarte, watercollection.net, ΥΠΕΧΩΔΕ κ.α.)
Documentation and research material from the archive of PPC_T/Farkadona. This material consists of objects, photos, video, designs, etc and refers to our action so far and our collaboration with the community of repatriated Greek-Pontians from former Soviet Union, as well as our collaboration with other groups or institutions (Gamb+I, HEL.L.U.G, Gudran, Cittadellarte, watercollection.net, Ministry of Public Works etc)
2. Στο χώρο του Παλαιού Αντλιοστασίου του ΟΛΘ:
2. At the space of the Old Plump house in the harbour:
Μια σειρά διεπιστημονικά εργαστήρια με κεντρικό θέμα "Συμμετοχικοί Μηχανισμοί και Διαδικασίες Αυτό-οργάνωσης: Οι Προϋποθέσεις του Μη-Σχεδιασμού". Στόχος των εργαστηρίων είναι η διερεύνηση νέων τρόπων παραγωγής, επεξεργασίας και διάδοσης πολιτιστικών προϊόντων (ρούχων, κοσμημάτων, new media objectrs, μορφών πολεοδόμησης και επαναχρησιμοποίησης υλικών του περιβάλλοντος, σχεδιασμός κατοικιών και πολιτιστικών ενεργειών σε δημόσιους χώρους κ.α.)
A series of interdisciplinary workshops on the topic of “Participatory Devices and Processes of Auto-organization: The Non-plan Condition”. The aim of these workshops would be to investigate new ways of production, elaboration and distribution of cultural products (clothes, jewelry, new media objects, forms of urbanization and reuse of environmental material, design of houses and cultural actions in public spaces etc)
Πως προέκυψε;
How did the project come up?
Το PPC_T/Farkadona, είναι ένα διεπιστημονικό αυτοδιαχειριζόμενο συμμετοχικό εγχείρημα. Απαρτίζεται από μία σειρά πολιτιστικές δραστηριότητες, εργαστήρια, μηχανισμούς αλληλεπίδρασης με το περιβάλλον και δημόσιων συμβάντων. Πρωτίστως, είναι επικεντρωμένο σε Καταστάσεις Εκτάκτου Ανάγκης, όπως εκείνη του οικισμού των παλλινοστούντων Ελληνοποντίων στη Φαρκαδόνα Τρικάλων...
Ο οικισμός δημιουργήθηκε στις αρχές της δεκαετίας του 1990, ως αποτέλεσμα μιας κρατικής πολιτικής περιφερειακής διασποράς των προσφύγων σε απομονωμένους καταυλισμούς. Δεκαπέντες χρόνια μετά την εγκατάστασης τους, οι ομογενείς κάτοικοι της κοινότητας εξακολουθούν να ζουν σε container, σε συνθήκες εξαθλίωσης, περιθωριοποίησης και "εξαίρεσης".
Θεμελιωμένο στην αντίληψη του τοπίου και του εδάφους ως "υποδοχέα" της ανθρώπινης δραστηριότητας και συνεκτικού χαρακτηριστικού κάθε πολιτιστικής δράσης, το PPC_T/Farkadona διερευνά τους τρόπους με τους οποίους η περιθωριοποιημένη κοινότητα μπορεί να ενταχθεί στο κοινωνικό περιβάλλον, στην οικονομική, πολιτιστική και πολιτική του ζωή, αναπτύσσοντας μια δική της δυναμική. Όλο το εκθεσιακό υλικό είναι αποτέλεσμα συνεργασίας με την κοινότητα των κατοίκων του οικισμού.
PPC_T/Farkadona is an interdisciplinary, self-administrated collaborative project. It consists of a series of cultural activities, workshops, devices of interaction with territory and public events. Moreover, it focuses primarily on Emergency Case Situations as seen at the settlement of the repatriated community of Greek-Pontians from the former Soviet Union in Farkadona, in the district of Trikala, Thessaly-Greece.
The settlement was created in the early 90s as a result of a state policy of peripheral dispersion of refugees in organized camps and units. Fifteen years after their rehabilitation the residents of the community still live under conditions of degradation, ghettoization and “exception”.
Based on the significance of territory as a “reception” of human activity, PPC_T/Farkadona examines the ways in which the marginalized community can be rehabilitated and incorporated in the existing landscape, the local society and in the economic, cultural and political life.
The material that will be presented at the exhibition is a result of our collaboration with the inhabitants of the community.
Πως υλοποιείται το project;
How is the project realised?
Κεντρικό μέσο υλοποίησης μιας τέτοιας αρθρωμένης κοινωνικής πολιτισμικής πρακτικής είναι τα εργαστήρια (workshops) που βασίζονται σε διαφορετικές δημιουργικές συμμετοχικές διαδικασίες, συμπεριλαμβάνοντς το τοπίο, τις νέες μορφές και τα δίκτυα πολιτιστικής παραγωγής. Τα εργαστήρια αυτά επικεντρώνονται σε τρεις συγκεκριμένους και αλληλοδιασταυρωνόμενους άξονες:
α) Στο σχεδιασμό, την παραγωγή και τη διανομή μιας σειράς χειροτεχνικών πολιτιστικών προϊόντων που αξιοποιεί και αναδεικνύει τις γνώσεις και την εμπειρία των κατοίκων της κοινότητας, κυρίως του άνεργου γυναικείου πληθυσμού (σχεδιασμός κοσμημάτων ρούχων, παραγωγή τοπικού φαγητού κλπ)
β) Σε διαφορετικές πρακτικές αυτό-οργάνωσης, εξοικοίωσης με τους ηλεκτρονικούς υπολογιστές και ελεύθερης πρόσβασης στο Διαδίκτυο, που βασίζεται στο γεγονός ότι στο ψηφιακό περιβάλλον της σύγχρονης εποχής παρέχει νέους τρόπους επικοινωνίας, διακίνησης πληροφοριών, γνώσεων και προϊόντων.
Central to the social practice concentration are the workshops which are based on diverse creative participatory processes including urban environment, new forms and networks of cultural production. These workshops are focused in three particular and cross-referential axes:
a) The design, production and distribution of a series of art&craft products that valorise the knowledge and experience of the people of the community and mainly that of the unoccupied female population (jewellery, clothes, local food etc).
b) In various practices of auto-organization concerning digital environments through getting familiar with new values of sharing intangible productions.
γ) Στο συμμετοχικό αρχιτεκτονικό σχεδιασμό του νέου οικισμού στον οποίο προγραμματίζεται να μετεγκατασταθεί η κοινότητα. Στο πλαίσιο αυτό, η ομάδα εργασίας συζήτησε και επεξεργάστηκε με τους κατοίκους της κοινότητας και άλλους αρχιτέκτονες τις απόψεις, τις ανάγκες και τις επιθυμίες τους για τις νέες κατοικίες.
c) The participatory architectural design process for the new settlement where the community will be rehabilitated.
Πότε ξεκίνησε;
When did it start?
2004
Ποιοί συμμετέχουν;
Who is participating?
Το PPC_T/Farkadona είναι μια διεπιστημονική ομάδα που βασίζεται στη συλλογική δράση και με ένα ευρύ δίκτυο συνεργατών, καλλιτεχνών, αρχιτεκτόνων και ακτιβιστών από την Ελλάδα, την Ιταλία, την Αίγυπτο, την Παλαιστίνη και τη Βραζιλία.
PPC_T/Farkadona is an interdisciplinary team that is based on collaborative actions together with an extended network of collaborators, architects, artists and activists from Greece and abroad.
Για περισσότερες πληροφορίες: http://www.ppc_t.gr
For more information: http://www.ppc_t.gr
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