Er - INi - ES

2012-01-29T06:32:00.000-08:00

http://evanthiatselika.wordpress.com/

"and i have only one dream. it is to dream all my life"

2012-01-13T06:03:00.000-08:00

Παζάρι Χριστουγέννων

2011-12-03T03:29:00.000-08:00

love without sound- 1969

2011-11-10T22:51:00.001-08:00

The public will be making the Hayward exhibition for the Olympics

2011-11-01T04:19:00.000-07:00

this could prove to be interesting...
"The Hayward Gallery in London is to be turned into a giant art school next summer, with classes for the public held by artists including Tracey Emin and Turner prize winners Mark Wallinger, Martin Creed and Jeremy Deller, as well as famous international names such as Thomas Hirschhorn and Marlene Dumas. Artists will hold lectures and workshops, and the event will culminate in an exhibition of work produced by the public in the gallery."
http://www.guardian.co.uk/artanddesign/2011/oct/31/southbank-festival-olympic-event
lets see how it turns out

18.10.11

2011-10-18T06:56:00.000-07:00

I rarely express my self on this blog. But I guess there are always first times.
Today a lady crushed her car at the back of mine. This has been preceded in the last few days by my laptop breaking, the washing machine stopping to work and the water pipe of my block bursting.
And without being able to help it i started to think of life.
This was intensified when I saw an older friend who used to look after me as a child in balkan greece. She said that when I was five years old I would always sing the following song- salvation of the soul, and that to this day she always thinks of me when this song comes on.
Sometimes small things help to put one's mind into perspective.

Pueblos originarios del sur de america

2011-10-12T05:13:00.000-07:00

Re Aphrodite: 1 Οκτωβρίου

2011-09-27T03:09:00.001-07:00

Re Aphrodite: 1 Οκτωβρίου
in collaboration with APOTHEKE CONTEMPORARY ARTS

On October 1st 2011 - a day marked by expressions of nationalism and military power - we invite you to reflect on Cypriot femininities through art.

Aphrodite, the Olympian goddess of love, beauty and dispute, has roots that can be traced to the Assyrian and Babylonian goddess Ishtar, the Sumerian Inanna, the Phoenician Astarte (Ashtart), and even further. Her story and lineage are inextricably tied to the island's position and history, and reference to her in Cypriot culture is frequent and continuous throughout the ages. Her most recent incarnations include tourist-targeted marketing, and political metaphor.

This exhibition considers Cypriot femininities as they are embraced, denied, rejected, exposed, and as they allow insight on the way that Cypriot ethno-national identities and socio-political realities are shaped.

1 Οκτωβρίου, an exhibition falling under the Re Aphrodite project, attempts to look beyond prevalent representations and easy tropes to collect works which comment on unlikely, unsettling, controversial or empty Cypriot dualities, pretences and debates. Thus positioned within a blur of things gendered and things political, the exhibition aims to raise issues around art, heritage, nationhood, sexuality, traditionalism, and conflict. It draws upon unlikely visual plays on how the tourist culture and the souvenir image of Aphrodite become mixed up in art. On how femininity and womanhood are contested in Cyprus and how local artists interpret these ideas and thus expose the false fragility and pragmatic exploitation that affects not only the female in Cyprus but also the island as an entity.

The participants include Christos Avraam, Melita Couta, Katerina Iacovides, Chrystalleni Loizidou, Nikos Philippou & Yianna Nicolaou, Presence in Absence, Theopisti Stylianou-Lambert, Constantinos Taliotis and Evi Tselika.

Information:

Re Aphrodite- 97611269 / 99586369
@reaphrodite
http:/reaphrodite.blogspot.com/

Address: APOTHEKE, Κλεάνθη Χριστοφίδη 23, Λευκωσία, 1011

Re Aphrodite: 1 Οκτωβρίου

2011-09-26T05:45:00.000-07:00

Re Aphrodite: 1 Οκτωβρίου
Σε συνεργασία με την APOTHEKE CONTEMPORARY ARTS

Την 1η Οκτωβρίου 2011 - μια μέρα που χαρακτηρίζεται από εκφράσεις εθνικών συναισθημάτων και στρατιωτικής ισχύος - σας προσκαλούμε μέσα από εικαστικά ερεθίσματα να συλλογιστείτε την σχέση της Κύπρου και της θηλυκότητας.

Η Αφροδίτη, η Ολύμπια θεά του έρωτα, της ομορφιάς και της διαμάχης, έχει ρίζες στην θεά Ιστάρ των Ασσυρίων και Βαβυλωνίων, την Ινάννα των Σουμερίων, και την Αστάρτη (Ashtart) των Φοινίκων. Η ιστορία και η καταγωγή της είναι άρρηκτα συνδεδεμένες με τη θέση και την ιστορία της Κύπρου, και αναφορές σε αυτή είναι συχνές και συνεχείς στον Κυπριακό πολιτισμό ανά τους αιώνες. Πιο πρόσφατες ενσαρκώσεις της περιλαμβάνουν τουριστικές διαφημίσεις και σουβενίρ, όπως και πολιτικές παρομοιώσεις.

Η έκθεση αυτή εξετάζει την θηλυκότητα στην Κύπρο ως κάτι ρευστό, ως κάτι που έχουμε δεχτεί, αρνηθεί, απορρίψει, εκθέσει ή προωθήσει, αλλά και ως κάτι που ριζικά καθορίζει την κυπριακή κοινωνικό-πολιτική πραγματικότητα και εθνική ταυτότητα.

Η έκθεση που εμπίπτει στη συνεργασία Re Aphrodite, προσπαθεί να κοιτάξει πέρα από τις δεδομένες αναπαραστάσεις και εύκολες μεταφορές, και εκθέτει έργα τα οποία ασχολούνται με το αναπάντεχο, το ανοίκειο, το αμφιλεγόμενο ή το άδειο μέσα στα Κυπριακά δυαδικά σχήματα, προσχήματα και προβλήματα. Η έκθεση, μέσα σε μια εσκεμμένη συν-χύση θεμάτων των φύλων και θεμάτων της πολιτικής, στοχεύει στο να θίξει ζητήματα γύρω από την τέχνη, την κληρονομιά, το έθνος, τη σεξουαλικότητα, την παράδοση, και τη σύγκρουση. Ξεκινά από ερμηνείες και παρερμηνείες της σχέσης της μορφής της Αφροδίτης με τον Κυπριακό πολιτισμό και τουρισμό, καθώς και του φύλου, της θηλυκότητας και της γυναικείας φύσης, εκθέτοντας έτσι την ευθραυστότητα και την εκμετάλλευση που επηρεάζει όχι μόνο τη γυναίκα στη Κύπρο αλλά και το νησί σαν μια θηλυκή απροστάτευτη οντότητα.

Κάποιοι από τους συμμετάσχοντες είναι Χρίστος Αβραάμ, Κατερίνα Ιακωβίδη, Μελίτα Κούτα, Χρυσταλλένη Λοϊζίδου, Θεοπίστη Στυλιανού-Lambert, Κωνσταντίνος Ταλιώτης, Εύη Τσελίκα, Νίκος Φιλίππου & Γιάννα Νικολάου.

Εγκαίνια: Παρασκευή, 30 Σεπτεμβρίου 2011, 20:00
Διεύθυνση: APOTHEKE, Κλεάνθη Χριστοφίδη 23, Λευκωσία, 1011

Ώρες Λειτουργίας:
1 - 8 Οκτωβρίου 2011
17:00-20:00, Δευτέρα - Παρασκευή
11:00- 17:00, Σάββατο

Πληροφορίες:
Εύη Τσελίκα 97611269 / Χρυσταλλένη Λοϊζίδου 99586369
@reaphrodite
http://reaphrodite.blogspot.com/
www.apothekecontemporaryarts.com

persephone's fruit or pomegranade season in cyprus

2011-09-24T22:00:00.000-07:00

one's not half two. It's two are halves of one

e.e cummings

one's not half two. It's two are halves of one:
which halves reintegrating,shall occur
no death and any quantity;but than
all numerable mosts the actual more

minds ignorant of stern miraculous
this every truth-beware of heartless them
(given the scalpel,they dissect a kiss;
or,sold the reason,they undream a dream)

one is the song which fiends and angels sing:
all murdering lies by mortals told make two.
Let liars wilt,repaying life they're loaned;
we(by a gift called dying born)must grow

deep in dark least ourselves remembering
love only rides his year.
All lose,whole find

la bruja

2011-09-24T01:16:00.001-07:00

quisiera amarte menos

2011-09-15T04:56:00.001-07:00

É hora de partir

2011-09-12T06:32:00.000-07:00

if in london

2011-09-08T03:17:00.001-07:00

information, information

2011-07-22T01:01:00.000-07:00

evanthia song...

2011-07-19T05:43:00.001-07:00

the only song i have ever found with my name in it... greek rock song from 70s...

with eyes closed to faith

2011-07-17T03:08:00.001-07:00

International church in Nicosia

'art under a new world order'

2011-07-16T11:14:00.000-07:00

article by Irmgard Emmelhainz
http://www.artandeducation.net/paper/art-under-the-new-world-order/

.....

2011-07-05T05:59:00.001-07:00

athens at the end of june

2011-06-29T09:30:00.001-07:00

See Memory Exhibition @ APOTHEKE

2011-06-10T07:19:00.001-07:00

SEE, MEMORY
Victor Cartagena / Aleksander Aquilar
16-25th June 2011
APOTHEKE

...As a first instalment of a programme of exchange and collaboration between APOTHEKE and The Museum of Art of El Salvador (MARTE), APOTHEKE presents 'See, Memory', an exhibition of works by the Salvadorian artist Victor Cartagena and the Brazilian-Salvadorian media artist-activist Aleksander Aguilar.

Victor Cartagena, one of the most important Central American contemporary artists, was born in El Salvador but abandoned it in the late 1980's, in the midst of the country's long running civil war (1980-1992) to move to San Francisco. Through this highlighted spatial distance, Cartagena's multifaceted artistic practise has been shaped into a continuous commentary on the past, a critical re-appraisal of memory as a violent absence, of remembrance as the present relic.

Aleksander Aguilar is a Brazilian-Salvadorian artist-activist who creatively researches and actively participates in social conflict resolution processes in both countries. At ‘See, Memory’ Aquilar presents a series of images, which are the result of his collaboration with Salvadorian ex-guerrilla fighters as well as of his research at the historical memory archive at the Museo de la Palabra y la Imagen. In acute awareness of the political significance of montage, Aquilar's work exposes and juxtaposes various images that playfully probe the memory of civil war and explore how the visual narrates the procedure of conflict and remembrance. Aquilar's work has been exhibited in Brazil, Spain, the U.K. and, of course, El Salvador.

Exploring notions which have an ever-present and privileged position in Cypriot discourses, such as that of political memory, of the iconography of the traumatic, as well as that of the aesthetic and visual configuration of post-traumatic elucidations of the personal and the local, 'See, Memory', more than an exhibition is also the inauguration of an extensive research process into all the above, amongst artists, cultural agents, collective and organisations from Cyprus and El Salvador.

The APOTHEKE / MARTE collaboration will culminate in 'It's Hard Selling Land', an exhibition of Cypriot contemporary artists, which will take place in mid-2012 at the Museum of Art of El Salvador, and will be curated by Demetris Taliotis and Evi Tselika.

SEE, MEMORY
Victor Cartagena / Aleksander Aquilar
Opening: Thursday, 16th June 2011, 20:00
Opening Hours: 17:00-21:00, Monday-Saturday,17-25th June 2011 or by appointment
Info: 99764816 / www.apothekecontemporaryarts.com
APOTHEKE, 23 Kleanthis Christofides Street, Nicosia, 1011

SEE, MEMORY
Victor Cartagena / Aleksander Aguilar
16-25 Ιουνίου 2011
APOTHEKE

Στα πλαίσια της συνεργασίας της APOTHEKE με το Mουσείο Τέχνης του El Salvador (MARTE) και γενικότερα με την σύγχρονη εικαστική παραγωγή της Κέντρο-Αμερικάνικης χώρας, εγκαινιάζεται την Πέμπτη 16 Ιουνίου 2011 η έκθεση 'See, Memory' με έργα του Victor Cartagena και του Aleksander Aguilar.

Ο Victor Cartagena, ένας από τους πιο σημαντικούς και αναγνωρισμένους συγχρόνους καλλιτέχνες της Κεντρικής Αμερικής, γεννήθηκε στο El Salvador αλλά το εγκατέλειψε στα τέλη της δεκαετίας του 1980, για να εγκατασταθεί στο San Francisco. H γεωγραφική απόσταση του από τον εμφύλιο πόλεμο (1980-1992) και την μετέπειτα ρευστή πολίτικο-κοινωνικη κατάσταση της χώρας του, εξακολουθεί να οριοθετεί την πολυσχιδή καλλιτεχνική του παράγωγη, ως ένα διαρκή σχολιασμό του παρελθόντος τόπου και χρόνου. Της μνήμης όπως αυτή βιώνετε μέσα από βίαιες απουσίες, μέσα από το παρόν ως άμεσο απομεινάρι.

Ο Aleksander Aguilar κατάγεται από το El Salvador αλλά έχει γεννηθεί στη Βραζιλία. Ως καλλιτέχνης-ακτιβιστής ερευνά δημιουργικά συμμετέχει ενεργά σε ποικίλες κοινωνικες διαδικασίες επίλυσης συγκρούσεων και στις δυο χώρες. Σε συνεργασία με πρώην αντάρτες από το El Salvador και την έρευνα του στα αρχεία ιστορικής μνήμης του Museo de la Palabra y la Imagen, η δουλεία του Aquilar εκθέτει και αντιπαραθέτει φωτογραφίες και εικόνες που πολιτικά μα και με χιούμορ εξετάζουν την οπτική μνήμη του εμφυλίου πολέμου του El Salvador. Η δουλεία του Aquilar έχει εκτεθεί στη Βραζιλία, στην Ισπανία, στο Ηνωμένο Βασίλειο και φυσικά στο El Salvador.

Διερευνώντας 'προσφιλή' και για την Κύπρο ζητήματα όπως της πολιτικής μνήμης, της εικονογραφίας του τραυματικού μα και εξετάζοντας την αισθητική και εικαστική διαμόρφωση μετα-τραυματικών ερμηνειών του 'τοπικού' τα έργα της έκθεσης 'See, Memory' αποτελούν επίσης την αρχή μιας διευρυμένης διαδικασίας έρευνας και διαλόγου μεταξύ καλλιτεχνών, πολιτιστικών παραγωγών, συλλογικοτήτων και οργανισμών των δύο χωρών.

Η συνεργασία της APOTHEKE και του MARTE θα κορυφωθεί στα μέσα του 2012 με την ομαδική έκθεση Κύπριων καλλιτεχνών στο Μουσείο του El Salvador με τίτλο It's Hard Selling Land, σε επιμέλεια Δημήτρη Ταλιώτη και Εύης Τσελίκα.

SEE, MEMORY
Victor Cartagena / Aleksander Aguilar
16-25 Ιουνίου 2011
Εγκαίνια: Πέμπτη, 16 Ιουνίου 2011, 20:00
Ωρες Λειτουργίας: Δευτέρα-Σαββατο, 17-25 Ιουνίου 2011, 17:00-21:00
Πληροφορίες: 999764816 / www.apothekecontemporaryarts.com
APOTHEKE, Κλεάνθη Χριστοφιδη 23, Λευκωσία, 1011

Presence in Absence- Interdisciplinary Performance

2011-06-07T22:44:00.001-07:00

10. 06. 2011

Αντώνης Αντωνίου, Νικολέττα Βερύκιου, Εύη Τσελίκα, Νάταλη Χέλερ

καφενές "Δροσιά" (οδός Άσσιας, Πλατύ Αγλαντζιάς)

ώρα έναρξης: 20:30 / ελεύθερη είσοδος / διάρκεια 35 λεπτά

Η performance presence in absence συγκεντρώνεται στη θεματική της γυναικείας παρουσίας/απουσίας από δημόσιους χώρους. Εξετάζοντας την παράλληλη ύπαρξη των γυναικών σε χώρους διασκέδασης που καταλαμβάνονται διαχρονικά από άντρες, όπως ένας παραδοσιακός καφενές, η ομάδα των δημιουργών που συμπράττουν για την presence in absence, γυναίκες στην πλειοψηφία τους εισέρχονται στο χώρο των αντρών, μόνο για να προχωρήσουν σε κινήσεις και ήχους συνήθεις του κοινωνικού ρόλου τους. Πρόκειται όμως για ένα τελετουργικό που εκτονώνει την κίνηση μέσω της ετεροχρονισμένης και επαναλαμβανόμενης εικόνας της. Η κίνηση που προκύπτει είναι προϊόν της παρουσίας και των κινήσεων εντός του καφενέ. Το τελετουργικό περιλαμβάνει χοροθέατρο, ζωντανή οπτικοποίηση εικαστικών και ετεροχρονισμένους ήχους του ίδιου του καφενέ ως μουσική υπόκρουση. Και ο χώρος για το τελετουργικό αυτό είναι εκεί όπου η παρουσία γυναικών μπορεί να δηλωθεί μόνο διά της απουσίας τους.

Election time in Cyprus

2011-05-22T02:16:00.000-07:00

Kafene times

Common Re-flections

2011-05-09T02:35:00.000-07:00

Στο πολιτιστικό ίδρυμα ARTos στις 11 Μαΐου η ώρα 8 το βράδυ.
Παρουσίαση / έκθεση / δράση (μια μέρα μόνο)

Επικοινωνία:
Μαρία Παπαχαραλάμπους <99-807798 maria@artosfoundation.org>
Εύη Τεσλίκα <97-611269 e_teslika@hotmail.com>
Αντικατοπτρισμοί
Όπως επισημαίνει, το 1984, ο Φουκώ, «η αντίσταση δεν είναι απλά μια αρνητικότητα αλλά μια δημιουργική διαδικασία. Το να δημιουργείς και να επαναδημιουργείς, το να αλλάζεις τη κατάσταση, το να συμμετέχεις ενεργά στη διαδικασία αλλαγής, αυτό σημαίνει να αντιστέκεσαι».
Στο έργο του 2009, “Commonwealth”, οι Μίκαελ Χαρντ και Αντόνιο Νέγκρι εισάγουν την έννοια του «κοινού» σαν ένα παράγοντα που μπορεί να υπεισέρθει σε όλα τα επίπεδα της καθημερινότητας. Βάζουν στη συζήτηση τα φυσικά στοιχεία του πλανήτη, καθώς και καθοριστικούς παράγοντες που συναποτελούν την ανθρώπινη κοινωνία –όπως τη γλώσσα, τη κουλτούρα και τις καθημερινές συνήθειες. Ζώντας σε ένα σύγχρονο παγκοσμιοποιημένο, αλλά συνάμα τοπικό κόσμο, όπου η ιδέα της κρίσης αποκτά ένα άνευ προηγουμένου momentum, ο επαναπροσδιορισμός της κοινωνικής μας πραγματικότητας και οι σκέψεις πέραν της ολότητας δείχνουν καίριας σημασίας. Διαβάζοντας το Σπινόζα, οι Χαρντ και Νέγκρι, δείχνουν ότι είναι εντός «ενός ανοικτού πεδίου πιθανοτήτων μέσα στο οποίο αναγνωρίζουμε τι είναι κοινό μεταξύ ενός σώματος κι ενός άλλου, μιας ιδέας και μιας άλλης, και οι κοινές αποτελεσματικές αντανακλάσεις είναι τα τούβλα για να αιτιολογήσουμε και τα εργαλεία για να αυξήσουμε τις δυνάμεις μας ώστε να σκεφτούμε και να αντιδράσουμε. »
Καλλιτέχνες, συγγραφείς, φιλόσοφοι και πολιτιστικοί παραγωγοί, μπορούν μέσω των δράσεών τους να υψώσουν τη φωνή της αντίστασης στις κοινωνικό-πολιτικές εξελίξεις, να βοηθήσουν στον επανασχηματισμό και στην επανεκτίμηση της δημόσιας σφαίρας και να δράσουν σε σχέση με την ηθική μας ευθύνη απέναντι στο σύνολο. Εξάλλου, είναι μέσω της αλλαγής θέσεων, του διαλόγου και των διαδραστικών δημιουργικών μανιφέστο ο τρόπος με τον οποίο ο επανα-σχηματισμός μπορεί να πυροδοτηθεί, και πως οι πράξεις μας σχηματίζουν το «κοινό» και πως η απραξία συμβάλλει στη διαιώνιση των κοινωνικών αδικιών.
Η Μαρία Παπαχαραλάμπους και η Εύη Τσελίκα προ(σ)καλούν και παρουσιάζουν μια ομάδα από εικαστικούς, συγγραφείς, φιλοσόφους, ποιητές και καλλιτέχνες που εξερευνά την έννοια του τι συμβαίνει όταν η Τέχνη μας ρωτά πως αντανακλούμε πάνω στις ίδιες τις συνήθειές μας και τα έθιμά μας; Μπορεί μέσω εικαστικών εκθεμάτων, γραπτού λόγου και παρουσιάσεων να ερευνηθεί η εφαρμογή καλλιτεχνικών πρακτικών στοχεύοντας στη σχηματοποίηση και παραγωγή του «κοινού», πυροδοτώντας γνώση που μπορεί να μοιραστεί, εμπειρία και νέες μορφές κοινότητας; Πώς μπορούμε να αντισταθούμε μέσω του «κοινού» και δημιουργικά να φανταστούμε την –κατά Σπινόζα- έννοια του πλήθους;.
Στο πολιτιστικό ίδρυμα ARTos στις 11 Μαΐου η ώρα 8 το βράδυ.
Στην έκθεση και εκδήλωση θα συμμετάσχουν διάφοροι καλλιτέχνες, φιλόσοφοι, συγγραφείς και εικαστικοί. Κάποιοι από αυτούς είναι Matthias Frisch, Anita Toutikian, Αλέξης Πέτρου, Αχιλλέας Κεντώνης, Θεοπίστη Στυλιανου, Νίκη Κατσιαούνη, Έλενα Στυλιανού, Ομάδα Εργασίας, Πήτερ Εραμιάν, Σταύρος Λαμπράκης, Χριστίνα Θεοδότου, Αθηνά Αντωνιάδου, ‘Εφη Σαββίδου Achim Wieland, Μιχάλης Παπαδόπουλος, Veronique Sapin, Χρυσταλλένη Λοϊζίδου και Ελένη Τσαγγαρίδου...

At ARTos Foundation on the 11th of May at 8 pm
Presentation / Exhibition / happening (one night only)
Communication:
Maria Papacharalambous <99-807798 maria@artosfoundation.org>
Evi Tselika <97-611269 e_teslika@hotmail.com>

Common Re-flections

As Foucault indicates “resistance is not solely a negation but a creative process. To create and recreate, to transform the situation, to participate actively in the process, that is to resist” 1984.

In their 2009 book, Commonwealth, Michael Hardt and Antonio Negri propose the concept of the common as a factor that can infuse all spheres of everyday life. They bring in the natural elements of the planet, as well as defining factors that constitute human society- such as language, culture and daily habits. Living in a contemporary global and yet local world, where the idea of crisis has been gaining unprecedented momentum, reinterpreting our social reality and thinking beyond the unitary seems of uttermost importance. In reading Spinoza, Hardt and Negri indicate that it is within “an open field o f possibility on which we recognize what is common between one body and another, one idea and another, and the resulting common notions are the building blocks of reason and tools for the constant project of increasing our powers to think and to act”.

Artists, writers, philosophers and cultural producers can through their actions voice their resistance to socio-political occurrences, aid in the reshaping or reimagining of the public sphere and prompt reflection on our ethical responsibility towards the collective whole. After all it is through interchange, dialogue and interactive creative manifestations that reflection can be triggered, of how our actions shape the common and how our inactions maintain social injustices.

Maria Papacharalambous and Evi Tselika invite and present a group of visual artists, writers, philosophers and poets to explore the notion of what occurs when Art asks us to reflect onto our own habits and customs. Can we through visual production, written word and presentations explore how the manifestation of artistic practices can aid in shaping and producing the common, thus triggering shared knowledge, experience and new forms of community? How can we resist through the “common” and creatively re imagine Spinoza’s concept of the “multitude”?

At ARTos Cultural Foundation on the 11th of May, at 8 p.m.

Variant artists, philosophers and writers will take part in the exhibition and event. These include Matthias Frisch, Anita Toutikian, Alexis Petrou, Achilleas Kentonis, Theopisti Stylianou, Niki Katsiaouni, Elena Stylianou, Achim Wieland, Omada Ergasias, Peter Eramian, Stavros Lambrakis, Christina Theodotou, Athina Antoniadou, Efi Savvides, Michalis Papadopoulos, Veronique Sapin, Chrystalleni Loizidou and Eleni Ellene Tsangarides…

Cyprus De-coloured

2011-04-27T23:12:00.000-07:00

Cyprus De-Colored from 14 Thinking Hats on Vimeo.

Documentary about Cyprus and racism/ xenophobia

Conflict through humour

2011-04-18T07:15:00.000-07:00

Collapsing is necessary if we are to redefine who we are

2011-04-04T06:17:00.000-07:00

Marcel DuChamp
Trebuchet (Trap).
Photo by Henri Pierre Roche, c.1916-1918

Lecture at European University, Nicosia- 31/03/2011

2011-03-24T22:37:00.000-07:00

With all this talk on revolution... i cannot help but think of art and revolution

2011-03-23T08:39:00.000-07:00

Manifesto for an Independent Revolutionary Art
Signed: Andre Breton and Diego Rivera
________________________________________
It is believed that the Manifesto was written by Trotsky and André Breton, although it was signed by Rivera and Breton.
________________________________________
We can say without exaggeration that never has civilization been menaced so seriously as today. The Vandals, with instruments which were barbarous and comparatively ineffective, blotted out the culture of antiquity in one corner of Europe. But today we see world civilization, united in its historic destiny, reeling under the blows of reactionary forces armed with the entire arsenal of modern technology. We are by no means thinking only of the world war that draws near. Even in times of ‘peace’ the position of art and science has become absolutely intolerable.
In so far as it originates with an individual, in so far as it brings into play subjective talents to create something which brings about an objective enriching of culture, any philosophical, sociological, scientific or artistic discovery seems to be the fruit of a precious chance; that is to say, the manifestation, more or less spontaneous, of necessity. Such creations cannot be slighted, whether from the standpoint of general knowledge (which interprets the existing world) or of revolutionary knowledge (which, the better to change the world, requires an exact analysis of the laws which govern its movement). Specifically, we cannot remain indifferent to the intellectual conditions under which creative activity takes place; nor should we fail to pay all respect to those particular laws which govern intellectual creation.
In the contemporary world we must recognize the ever more widespread destruction of those conditions under which intellectual creation is possible. From this follows of necessity an increasingly manifest degradation not only of the work of art but also of the specifically ‘artistic’ personality. The regime of Hitler, now that it has rid Germany of all those artists whose work expressed the slightest sympathy for liberty, however superficial, has reduced those who still consent to take up pen or brush to the status of domestic servants of the regime, whose task it is to glorify it on order, according to the worst possible aesthetic conventions. If reports may be believed, it is the same in the Soviet Union, where Thermidorian reaction is now reaching its climax.
It goes without saying that we do not identify ourselves with the currently fashionable catchword, ‘Neither fascism nor communism!’ –a shibboleth which suits the temperament of the philistine, conservative and frightened, clinging to the tattered remnants of the ‘democratic’ past. True art, which is not content to play variations on ready-made models but rather insists on expressing the inner needs of man and of mankind in its time –true art is unable not to be revolutionary, not to aspire to a complete and radical reconstruction of society. This it must do, were it only to deliver intellectual creation from the chains which bind it, and to allow all mankind to raise itself to those heights which only isolated geniuses have achieved in the past. We recognize that only the social revolution can sweep clean the path for a new culture. If, however, we reject all solidarity with the bureaucracy now in control of the Soviet Union, it is precisely because, in our eyes, it represents not communism but its most treacherous and dangerous enemy.
The totalitarian regime of the USSR, working through the so-called cultural organizations it controls in other countries, has spread over the entire world a deep twilight hostile to every sort of spiritual value; a twilight of filth and blood in which, disguised as intellectuals and artists, those men steep themselves who have made of servility a career, of lying-for-pay a custom, and of the palliation of crime a source of pleasure. The official art of Stalinism, with a blatancy unexampled in history, mirrors their efforts to put a good face on their mercenary profession.
The repugnance which this shameful negation of principles of art inspires in the artistic world –a negation which even slave states have never dared to carry so far –should give rise to an active, uncompromising condemnation. The opposition of writers and artists is one of the forces which can usefully contribute to the discrediting and overthrow of regimes that are destroying, along with the right of the proletariat to aspire to a better world, every sentiment of nobility and even of human dignity.
The communist revolution is not afraid of art. It realises that the role of the artist in a decadent capitalist society is determined by the conflict between the individual and various social forms which are hostile to him. This fact alone, in so far as he is conscious of it, makes the artist the natural ally of revolution. The process of sublimation, which here comes into play and which psychoanalysis has analysed, tries to restore the broken equilibrium between the integral ‘ego’ and the outside elements it rejects. This restoration works to the advantage of the ‘ideal of self’, which marshals against the unbearable present reality all those powers of the interior world, of the ‘id’, which are common to all men and which are constantly flowering and developing. The need for emancipation felt by the individual spirit has only to follow its natural course to be led to mingle its stream with this primeval necessity –the need for the emancipation of man.
The conception of the writer’s function which the young Marx worked out is worth recalling. ‘The writer’, he said, ‘naturally must make money in order to live and write, but he should not under any circumstances live and write in order to make money…The writer by no means looks on his work as a means. It is an end in itself and so little a means in the eyes of himself and of others that if necessary he sacrifices his existence to the existence of his work…The first condition of freedom of the press is that it is not a business activity.’
It is more than ever fitting to use this statement against those who would regiment intellectual activity in the direction of ends foreign to itself and prescribe, in the guise of so-called reasons of state, the themes of art. The free choice of these themes and the absence of all restrictions on the range of his exploitations –these are possessions which the artist has a right to claim as inalienable. In the realm of artistic creation, the imagination must escape from all constraint and must under no pretext allow itself to be placed under bonds. To those who urge us, whether for today or for tomorrow, to consent that art should submit to a discipline which we hold to be radically incompatible with its nature, we give a flat refusal and we repeat our deliberate intention of standing by the formula complete freedom for art.
We recognize, of course, that the revolutionary state has the right to defend itself against the counterattack of the bourgeoisie, even when this drapes itself in the flag of science or art. But there is an abyss between these enforced and temporary measures of revolutionary self-defense and the pretension to lay commands on intellectual creation. If, for the better development of the forces of material production, the revolution must build a socialist regime with centralized control, to develop intellectual creation an anarchist regime of individual liberty should from the first be established. No authority, no dictation, not the least trace of orders from above! Only on a base of friendly cooperation, without constraint from outside, will it be possible for scholars and artists to carry out their tasks, which will be more far-reaching than ever before in history.
It should be clear by now that in defending freedom of thought we have no intention of justifying political indifference, and that it is far from our wish to revive a so-called pure art which generally serves the extremely impure ends of reaction. No, our conception of the role of art is too high to refuse it an influence on the fate of society. We believe that the supreme task of art in our epoch is to take part actively and consciously in the preparation of the revolution. But the artist cannot serve the struggle for freedom unless he subjectively assimilates its social content, unless he feels in his very nerves its meaning and drama and freely seeks to give his own inner world incarnation in his art.
In the present period of the death agony of capitalism, democratic as well as fascist, the artist sees himself threatened with the loss of his right to live and continue working. He sees all avenues of communication choked with the debris of capitalist collapse. It is only natural that he should turn to the Stalinist organisations which hold out the possibility of escaping from his isolation. But if he is to avoid complete demoralisation he cannot remain there, because of the impossibility of delivering his own message and the degrading servility which these organisations exact from him in exchange for certain material advantages. He must understand that his place is elsewhere, not among those who betray the cause of the revolution, and of mankind, but among those who with unshaken fidelity bear witness to the revolution; among those who, for this reason, are alone able to bring it to fruition, and along with it the ultimate free expression of all forms of human genius .
The aim of this appeal is to find a common ground on which all revolutionary writers and artists may be reunited, the better to serve the revolution by their art and to defend the liberty of that art itself against the usurpers of the revolution. We believe that aesthetic, philosophical and political tendencies of the most varied sort can find here a common ground. Marxists can march here together with anarchists, provided both parties uncompromisingly reject the reactionary police patrol spirit represented by Joseph Stalin and his henchman Garcia Oliver.
We know very well that thousands on thousands of isolated thinkers and artists are today scattered throughout the world, their voices drowned out by the loud choruses of well-disciplined liars. Hundreds of small local magazines are trying to gather youthful forces about them, seeking new paths and not subsidies. Every progressive tendency in art is destroyed by fascism as ‘degenerate’. Every free creation is called ‘fascist’ by the Stalinists. Independent revolutionary art must now gather its forces for the struggle against reactionary persecution. It must proclaim aloud the right to exist. Such a union of forces is the aim of the International Federation of Independent Revolutionary Art which we believe it is now necessary to form.
We by no means insist on every idea put forth in this manifesto, which we ourselves consider only a first step in the direction. We urge every friend and defender of art, who cannot but realise the necessity for this appeal, to make himself heard at once. We address the same appeal to all those publications of the left which are ready to participate in the creation of the International Federation and to consider its task and its methods of action.
When a preliminary international contact has been established through the press and by correspondence, we will proceed to the organization of local and national congresses on a modest scale. The final step will be the assembly of a world congress which will officially mark the foundation of the International Federation.

Our aims:

The independence of art — for the revolution.
The revolution — for the complete liberation of art!

Andre Breton
Diego Rivera

http://www.marxists.org/subject/art/lit_crit/works/rivera/manifesto.htm

radio in conflict- Radio Venceremos

2011-03-13T03:06:00.001-07:00

bday cheesy in march

2011-03-07T03:19:00.000-08:00

It is funny when you realize that so many of the people you love, that you meet and that you find inspirational are born in the month of march
to all of those of you that are born in march, I dedicate this very special song
the waters of march...

BBC- Revolution 2011

2011-03-01T11:08:00.000-08:00

Programme on the revolutionary occurence in Northern Africa in 2011

Dance Poetry Performance

2011-02-28T01:23:00.000-08:00

Performance by Natalie Heller, Mady Madelin, Lefteris Moumtzis, Antonis Antoniou
Kastelliotisa, Nicosia, Cyprus
Flyer- Evi Tselika

Egypt: Tariq Ramadan & Slavoj Zizek - Riz Khan - Al Jazeera English

2011-02-20T12:03:00.000-08:00

Egypt: Tariq Ramadan & Slavoj Zizek - Riz Khan - Al Jazeera English

just for laughs

2011-02-16T01:24:00.000-08:00

something i made a few months back with my drawings, just for laughs

Latinoamerica... a land that has stolen my heart

2011-01-28T09:21:00.001-08:00

Tú no puedes comprar al viento,
Tú no puedes comprar al sol
Tú no puedes comprar la lluvia,
Tú no puedes comprar el calor.
Tú no puedes comprar las nubes,
Tú no puedes comprar los colores.
Tú no puedes comprar mi alegría,
Tú no puedes comprar mis dolores.

You cannot buy the wind
You cannot buy the sun
You cannot buy the rain
You cannot buy the heat
You cannot buy the clouds
You cannot buy the colours
You cannot buy my happiness
You cannot buy my pains

Sharing something special that was written for me

2011-01-24T04:13:00.001-08:00

KRONA POLA

The lions were awake, she says.

There is a particular way we speak to each other on Sundays.

It deems from that Eurasian island country, home to some of the oldest water wells in the world,

site of the earliest known example of feline domestication

from where you came to broad me so widely that it is now incomprehensible.

I did not understand, particularly, what happened during the first three seconds.

It is the smell of sharpened pencils in Athens in September,

I saw the whiteness of the clouds that we were cutting across

and I screamed, only for myself, as the winds pushed the sound back inside me.

Let me go up again, as a child running to the slides to coast one more time.

Yes, the lions are awake.

I saw the vastness. And I wanted to continue falling.

I see water in you.

By Aleksander Aguilar, 2010

11.01.2011

2011-01-11T06:45:00.001-08:00

23. The Child with the Mirror

AFTER this Zarathustra returned again into the
mountains to the solitude of his cave, and withdrew
himself from men, waiting like a sower who hath
scattered his seed. His soul, however, became
impatient and full of longing for those whom he
loved: because he had still much to give them.
For this is hardest of all: to close the open
hand out of love, and keep modest as a giver.
Thus passed with the lonesome one months and
years; his wisdom meanwhile increased, and
caused him pain by its abundance.
One morning, however, he awoke ere the rosy
dawn, and having meditated long on his couch,
at last spake thus to his heart:
Why did I startle in my dream, so that I
awoke? Did not a child come to me, carrying
a mirror?
"O Zarathustra"- said the child unto me-
"look at thyself in the mirror!"

All Tropical T-shirt Competition for Crisis UK

2010-12-20T06:39:00.000-08:00

As part of my collaboration with All Tropical and my work with charity Crisis UK, I have assisted in setting up this special Christmas Competition.

I ask any of you who might have the time to go to the All Tropical Website and vote for this special cause

http://www.alltropical.co.uk/

A group of vulnerably housed people living in London have worked to design a series of tshirts and the winner will receive £150 + the runner up £100 in time for Christmas.

From these, one design will be selected (based on feedback!) and go into production. We are pleased to be able to support the excellent work Crisis are doing every day to fight homelessness across the country.

Uma Linha Verde- Evi's exhibition in Brasil

2010-12-08T06:25:00.000-08:00

http://radio-com.blogspot.com/2010/12/questao-chipre-e-linha-verde-sao-temas.html

http://ccs.ufpel.edu.br/wp/2010/12/07/a-questao-chipre-e-a-linha-verde-sao-temas-de-mostra-de-arte-na-ufpel/

This week I am having an exhibition in the Federal University of Pelotas in Rio Grande do Sul, Brazil. Above are two articles from the local press. The exhibition 'Uma Linha Verde' will be on from the 8th to the 15th.

Article- Crossing the Line: Inside the Israeli Anarchists Against the Wall

2010-12-07T09:07:00.000-08:00

http://english.pnn.ps/index.php?option=com_content&task=view&id=9201&Itemid=56

London in the snow

2010-12-01T02:34:00.000-08:00

When I finished studying in 2005, I was still paying yearly what I believe was about £1,300. It was why I was able to come study here. 6 years on it will be £9,000.

Democratic Mathematics

Verbal encounters on the walls of Nicosia

2010-11-30T14:16:00.000-08:00

In preparing for a presentation, I had to go through many of my highly unorganised image folders of the walls of Nicosia...
These days it is imperative for me to write... And when I need to write, I find it easier to start with visual verbal narratives.

2010

2008

2002

2003

2009

PWC 2010

2008

2006

2010

2007

2002

2007

2003

Aphrodite....

2010-11-23T08:50:00.000-08:00

Top Image: Chrystalleni Loizidou
Centre Image: PIO 1989. Women’s’ march
Bottom Image: Still from Michalis Kakoyiannis film, ‘Attilas ‘74’
Postcard/ Image composition: Evi Tselika

Charles Baudelaire- Get Drunk!

2010-11-02T03:12:00.000-07:00

Cypriot stamps from colonial times

2010-10-27T04:14:00.001-07:00

Iran's songs of love and liberation

2010-10-17T02:25:00.000-07:00

A great article from Le Monde Diplomatique

Protest through music and post it on Youtube
Iran’s songs of love and liberation
In response to popular opposition after Iran’s 2009 elections, young Iranians are reviving an old tradition of music used as political protest
by Ed Emery

The crowd in a small music venue in Oxford is young, there to listen to Iranian songs, including pieces in Azeri, Kurdish and Armenian. Late in the performance somebody calls for “Winter is over” (Sar umad zemestoun), a song from the 1960s now enjoying new life as an anthem of the reformist Green Movement (1). The band agrees to play as long as the audience sings. People hesitantly come to the front of the stage as an impromptu choir, knowing this is a public proclamation of allegiance: the event is being filmed so they could end up on YouTube, visible to the Iranian regime and its agents. Bad things could happen to family members in Iran.

After June 2009’s contested elections, popular anger welled up in Iran. When people attacked the vehicles of the basij militia in the streets during December’s religious festivities of Ashura, half seemed armed with rocks and the other half with mobile phone cameras. They broadcasted the images globally on YouTube and Facebook (2). People allowed themselves to be filmed during these attacks, and that seemed a sign that the theocracy ruling Iran was losing its power over them.

Professor Annabelle Sreberny of London’s newly-established Centre for Iranian Studies points out that, for Iranians at home and in the diaspora, social networking sites provide spaces that have transformed into “fast and extensive conduits of political content”. When the Iranian authorities arrested student leader Majid Tavakoli in December 2009, they humiliated him by photographing him wearing a woman’s hijab and published the picture in the newspapers. Within a week, hundreds of Iranian men had photographed themselves in hijabs and posted the photos on Facebook and Youtube (3) in an imaginative protest.

Sound plays a part in the new alignments: every night after the elections, Iranians cried themselves hoarse from Tehran’s balconies and windows, an eerie wail. Their chant of Allah-o akbar was a way of expressing determination, hope and frustration, and of creating a spirit of solidarity (4).

Music has an important role in this opposition between Iran’s people and their government. Traditional music, which in the past was a means of protest, is having a resurgence and being criticised by the authorities. A low-grade cleric appeared on TV to attack music as a source of evil. He mentioned the santur (a multi-stringed hammer dulcimer), 10 times in a few minutes, a reminder that in 2007 the government had bizarrely banned Santoori, a Dariush Mehrjui film about a would-be santur player. Ayatollah Khamenei has recently pronounced that learning music runs counter to the principles of the Islamic republic and is a waste of time. Young Iranians are becoming interested in classical music, which a few years ago only older people listened to.

There was a brief flowering of traditional music in Iran shortly before the 1979 Islamic revolution. Under the shah, westernisation had threatened the centuries-long traditions of Persian classical music. In protest, small groups of musicians, including leftists and progressives, began to stage performances and make recordings of classical music. Albums by artists such as Hossein Alizadeh, Sedigh Tarif and Mohammad-Reza Shajarian included powerful songs of resistance and political liberation.

But soon after the revolution, albums and songs with an explicit political message were banned; mere possession of tapes could mean arrest and imprisonment. Public performance in Iran and in the diaspora (where the regime remained vigilant) effectively ceased. Shajarian, doyen of Iranian classical music, avoided making political statements. But the pressure of the regime and the growing strength of everyday resistance led him to take more radical positions. When President Mahmoud Ahmadinejad called the popular resistance movement “dust and trash”, Shajarian immediately broadcast a BBC interview: “This voice has always been for the ‘dust and trash’ and will remain that way, and I will never allow the state radio and television to use my voice.”

Shajarian sings liberation songs. A fine piece, composed and accompanied on santur by the legendary Parviz Meshkatian (5), is a song in “injustice mode” (avaz-e bidad) – once used by musicians to criticise the king. Then there is “Bird of the morning” (Morg-e sahar) which rails against the injustices of tyrants (6); and the Jalaluddin Rumi poem Shajarian recently performed in Los Angeles, significantly, with women performers onstage, about freedom from prison.

A small group of musicians, including Persians and Kurds, based at London’s School of Oriental and African Studies (SOAS), is establishing a musical project until the end of 2011, “Songs of Love and Liberation from Iran”. The project defends ordinary people and popular culture in Iran and the organisers regard the work as active musical archaeology. They are contacting musicians and singers, in Iran and in the Iranian and Kurdish diasporas, to create a catalogue of songs and instrumental pieces of “love and liberation”.

One such song has a long history. At the time of the Iranian movement for constitutional monarchy in 1905, Persian classical music was mainly in the service of the court. The poet and musician Aref Qazvini (1882-1934) wrote that when he started composing epic songs, the arts had sunk so low that musicians would make songs even for the king’s cat. The constitutional movement was suppressed, during three years of political unrest known as the “little tyranny”. This moment became a turning point in Persian urban music.

Qazvini, a revolutionary who supported the movement, composed songs for these bitter events. One is “From the blood of the homeland’s youth” (Az khun-e javanan-e vatan). Though it was dedicated to Heydar Khan Amoo Oghli, a founder of the Communist Party of Iran, it remained popular throughout the reign of the shah and the Islamic revolution (Shajarian recorded it twice). It is in the Iranian tradition of spring songs (bahariye) for the new year (nowruz). But the original version sings of the sufferings of the people and calls for resistance: “Stand up against the bullets”. This part was censored and recorded versions contain only the first verse. The censored sections will be restored.

The project will include travelling concerts, workshops and seminars. The performances will be filmed and sound-recorded to provide a historical internet record of the lost repertoire; the aim is to create an archive of definitive versions of songs that have been forgotten, buried or mutilated by censorship (and self-censorship), and publish a songbook. As musicologists, we see this as a model for social consolidation in other diaspora communities.

There’s a recent video clip that shows two young girls in a provincial town in Iran (7). One, wearing a symbolic green headscarf, plays the setar; the other, only eight or nine, plays the tonbak drum, and sings a traditional song: “Break your repentance. O drinkers open the taverns... Drink in hidden ways.” At the end the adults around her applaud – and post the performance on Facebook.

Le monde diplomatique
01.10.2010
http://mondediplo.com/2010/10/17iranianmusic

Public Works Chora (PWC) at TINAG Festival, London

2010-10-14T13:13:00.000-07:00

Public Works Chora (PWC) London Reflections
Since geographically – or otherwise- no coherent financial district can be located on the island of Cyprus, in this manifestation of PWC the focus will be the Church’s role in shaping financial institutions and subsequently political and cultural conditions on the island. The 1st October 2010 is the official 50th anniversary of independence of Cyprus from the British Empire. This process was lead by the first president of the island, and leader of the autocephalous Church of Cyprus, Archbishop Makarios III. Through a variety of gestures, archival material and visual references PWC aim to trace the possible –even conjectural- relationships the Church of Cyprus has with market forces, master- planning, land distribution, issues of ownership, taxation, charity and other vis-a-vis the idiosyncratic presence of social engagement on the island. Also, as part of this specific installment two presentations will contextualise the economic history and development of the island and the role, presence and understanding of the public art commissioned by the Church. Friday 22 / 13:30-15:30 / The Suffragettes Galleries and Tea Room
This is not a Gateway Festival
http://thisisnotagateway.squarespace.com/2010-programme/

An example of Evi's tshirts

2010-10-11T08:55:00.001-07:00

Winner of t-shirt competition- All Tropical. October 2010.
Many more designs. Email if you like

Music from Cyprus

2010-10-01T01:57:00.001-07:00

i heart music- a little yellow bird

2010-09-28T01:44:00.000-07:00

Have you ever wished you could sing?

A turtle for peace day

2010-09-21T04:50:00.001-07:00

A turtle I made for the decoration theme for little Sophie's birthday celebrations.
A turtle to remember 2010 peace day...

Volcanic women

2010-09-15T04:24:00.000-07:00

Protest is beautiful

2010-09-06T03:59:00.000-07:00

Freee, Protest is Beautiful, photograph/ poster. 2001

Images of Ledra street in the early twentieth century... some visual research

2010-07-14T05:12:00.001-07:00

Public Works- Trading Places Performance

2010-07-08T05:06:00.000-07:00

Dance Theatre Performance in the Municipal Market of Nicosia. Performance by Natalie Heller and Nikoleta Verikiou. Photograph Evi Tselika. July 2010

Public Works Program-1, 2 & 3 July 2010

2010-06-22T07:07:00.000-07:00

Public Works will be held at various locations within the public space of Nicosia, Cyprus

2 & 3 July 2010
Apotheke Contemporary Arts: http://www.apothekecontemporaryarts.com/

Contact information Evi Tselika:
e_tselika@hotmail.com
+447973906568/ +35797611269

Contact information Demetris Taliotis:
info@apothekecontemporaryarts.com
+447788727571 / +35799764816

Thursday, 1 July 2010

17:00- 19:00
Parking lot turned to ad hoc playground
Public Works meets Hope for Peace, Office for Children’s Rights
Drawings of young people using the theme of the old city that will have been turned to large stickers will be displayed throughout the city, but particularly at the location of the workshop. This will be accompanied by exhibits from the bi-communal arts workshops that are lead by the NGO HFC-OCR.
This will act as an ad hoc playground including a 3 meter canvas that will be set up so that members of the public can spray paint messages to the city.
Young people will be welcome to join and draw different pictures based upon emblematic images of the old city. Some of these images will then be turned to T-shirts and given back to participants. This will be held right behind Ermou bar at 261 Ermou street.
Artist leading Workshop: Evi Tselika
Location 1

Friday, 2 July 2010

18:30
Talking of Public Art
Talk on Public Art in the context of Cyprus by Christina Lambrou outside the Archbishopry where the Big Mac used to reside

20:00
Exhibition of Public Works
An exhibition exploring the notions of the divided city, the use of the highly charged public space both as political statements and artistic endeavors and how the element of social/ spatial engagement has been presented by creative practitioners

21:00
Street Party
A historically traceable mode of public engagement with the city that has attracted multiple reactions and has partly rekindled the public interest for the Old Town of Nicosia

24 hour Web radio experimentation by Antonis Antoniou launched at the street party. Starting time at 21:00

Saturday, 03 July 2010

10:00-11:00
Trading Places Physical Theatre Performance in the Municipal Market
Performance will take place by Dance Theatre United (Natalie Heller) & Nikoleta Verikiou

11:00- 12:30
A tour of stencils and graffiti and their importance as a form of visual communication and social engagement within the walled part of Lefkosia/Lefkosha, which will be conducted by researcher Pafsanias Karathanasis

14:00- Onwards
Video interactive installation
Encourage different publics to go into the gallery and talk to the camera about their relationship with Nicosia

Roundtable @ Cafe Berlin No 2(on border)

17:00- Evi Tselika- Introduction

17:15- Dr Gabriel Koureas- Nicosia: Memory, Place, Trauma

17:45- Dr Anna Grichting- Green Line Scapes. Nicosia's Dead Zone as a River of Memory.

18:15- Dr Cameron Cartiere- Public Art and Social Engagement in Contemporary Art

18:45- Pafsanias Karathanasis- Geographies of graffiti and street art in the old town of Lefkosia/ Lefkoşa

19:15- Demetris Taliotis- Analysis and presentation of artistic collaborative work in the Public space of Nicosia.

19:45- Sumer Erek- Presentation of the artist’s work in the Public space and how he uses social engagement

20:15- 21:00 Roundtable Discussion

The roundtable discussion will be available to hear on the Web Radio

Online Extension of Public Works
An IRC backchannel will be running during the talks. Visit the blog on the day for more details.
Chrystalleni Loizidou

Location 1: Young People’s Ad-hoc Playground, workshop and exhibition @ area behind Ermou Bar, Ermou 261
Location 2: Public Art Talk @ space outside Archbishopry
Location 3: Apotheke @ 23 Kleanthi Christofidi Street
Location 4: Physical Theatre Performance @ the Municipal Market at the Old Town Hall Square
Location 5: Meeting point for Graffiti and Stencil Tour @ the Municipal Market at the Old Town Hall Square
Location 6: Roundtable held @ Cafe Berlin No2- Lefkonos Street

When I dream...

2010-06-08T08:30:00.000-07:00

Border Wall Details

2010-05-25T06:34:00.000-07:00

Volcano- Volcano- Volcano

2010-05-04T02:32:00.000-07:00

Public Works Πρόγραμμα- 23/24 Απριλίου

2010-04-15T01:47:00.000-07:00

Public Works στο Δημόσιο χώρο Λευκωσίας
http://publicworks2010.blogspot.com/

23-24 Απριλίου 2010
Apotheke: http://www.apothekecontemporaryarts.com/
Διεύθυνση: 23 Κλεάνθη Χριστοφίδη, Λευκωσία (αναφερθείτε στην ιστοσελίδα για την ακριβές τοποθεσία)

Για περισσότερες πληροφορίες- Εύη Τσέλικα:
e_tselika@hotmail.com +447973906568/ 0035797611269

Για περισσότερες πληροφορίες- Δημήτρης Ταλιώτης:
demetris_taliotis@yahoo.com +447788727571 / +35799764816

Παρουσιάσεις και συζητήσεις στις 23 Απριλίου @ Cafe Berlin No2
Τοποθεσία- Location 1

3:00/3:15 Έναρξη- Εύη Τσελίκα
3:30 Δρ Γαβριήλ Κουρέας- Λευκωσία: Μνήμη, χώρος, τραύμα
4:00 Δρ Άννα Γκρίχτινγκ- Πράσινη Γραμμή. Η νεκρή ζώνη της Λευκωσίας σαν
ποτάμι μνήμης
4:30 Δρ Κάμερον Καρτιέρ- Δημόσια και Κοινωνικά εφαρμοσμένη τέχνη στο
σύγχρονο εικαστικό χώρο
5:00 Παυσανίας Καραθανάσης- Οι γεωγραφίες του graffiti και της street art στην
‘παλιά πόλη’ της Λευκωσίας/ Lefkoşa
5:30 Δημήτρης Ταλιώτης- Παρουσίαση και ανάλυση της χρήσης του δημοσίου
χώρου από καλλιτέχνες
6:00 Σούμερ Έρεκ- Παρουσίαση μέσω διαδικτύου για την δουλειά του
καλλιτέχνη στο δημόσιο χώρο και πώς εμπλέκει το κοινό
6:30/7:30 Συζήτηση

Εργαστήρια και εκδηλώσεις στις 24 Απριλίου
24ωρος πειρατικός ραδιοσταθμός- Αντώνης Αντωνίου

Καθ’ όλη τη διάρκεια της μέρας- Παρουσίαση από την αναρχική ομάδα και την έντονη σχέση τους με την πόλη της Λευκωσίας, στο Χώρο τους- Αγράμματα. Τοποθεσία- Location 2

10:00- 12:00- Παράνομος χώρος στάθμευσης μεταλλάζεται σε παιδότοπο. Τοποθεσία- Location 3
* Εικόνες παιδιών και νέων, εμπνευσμένες από την παλιά πόλη της Λευκωσίας θα μετατραπούν σε μεγάλα αυτοκόλλητα και θα διαμορφώσουν το χώρο. Ο χώρος θα χρησιμοποιηθεί σαν δημόσιο εργαστήρι τέχνης και θα παραμείνει σαν 'παιδότοπος' καθ’ όλη τη διάρκεια της μέρας. Εύη Τσελίκα

12:00- 13:30- Ξενάγηση graffiti και street art
* Μια ξενάγηση των stencils και των graffiti και την σημασία τους σαν μια μορφής οπτικής επικοινωνίας στων εντός των τειχών πόλης. Παυσανίας Καραθανάσης. Τόπος συγκέντρωσης Τοποθεσία- Location 3

13:30- 14:00- Χοροθέατρο στην Δημόσια Αγορά- trading places
Η παράσταση οργανώνεται από την ομάδα Dance Theatre United (Natalie Heller). Τοποθεσία- Location 4

14:00- μέχρι αργά Έκθεση @ Apotheke.
* Μία έκθεση που εξερευνάει τις έννοιες μίας μοιρασμένης πόλης, της πράσινης γραμμής που την διαπερνάει, τη χρήση των δημοσίων χώρων της πόλης και πως καλλιτέχνες έχουν χρησιμοποιήσει αυτό το πεδίο και τις κοινότητες που το αντιπροσωπεύουν. Τοποθεσία- Location 5

15:00- 16:30- Συζητώντας για Δημόσια Τέχνη
Ένας διάλογος για την έννοια της δημόσιας τέχνης στο Κυπριακό περιβάλλον. Ομιλητής η Χριστίνα Λάμπρου. Τοποθεσία- Location 6, ακριβώς έξω από την Αρχιεπισκοπή

18:00- μέχρι αργά @ Apotheke. Street Party
* Μια ιστορική μέθοδος κοινωνικής επαφής με τον αστικό χώρο, που έχει προσελκύσει πολλαπλές αντιδράσεις και έχει αναζωπυρώσει εν μέρει το δημόσιο ενδιαφέρον για την παλιά πόλη της Λευκωσίας. Τοποθεσία- Location 5

Τοποθεσία- Location 1: Διάσκεψη @ Cafe Berlin No2- Οδός Λεύκωνος, απέναντι από το πλακόστρωτο μπροστά από την εκκλησία της Φανερωμένης
Τοποθεσία- Location 2: Αγράμματα- Περικλέους 82, πάροδος Ρηγαίνης
Τοποθεσία- Location 3: Παιδότοπος και έκθεση παιδιών στην αρχή της οδούς Τρικούπη κοντά στην Πράσινη γραμμή
Τοποθεσία- Location 4: Χοροθέατρο @ Δημοτική Αγορά Λευκωσίας, Πλατεία και οδός Διογένους
Τοποθεσία- Location 5: Apotheke @ 23 Κλεάνθη Χριστοφίδη
Τοποθεσία- Location 6: Διάλογος για τη Δημόσια Τέχνη στη Κύπρο @ ακριβώς έξω από την Αρχιεπισκοπή

Public Works Program- 23/24 April 2010

2010-04-15T01:43:00.001-07:00

Public Works @ The public space of Nicosia, Cyprus
http://publicworks2010.blogspot.com/

23-24 April 2010
Apotheke: http://www.apothekecontemporaryarts.com/
Address: 23 Kleanthi Christofidi street, Nicosia (map can be seen on the website)

Contact information Evi Tselika:
e_tselika@hotmail.com
+447973906568/ 0035797611269

Contact information Demetris Taliotis:
demetris_taliotis@yahoo.com +447788727571 / +35799764816

Roundtable 23 April @ Cafe Berlin No 2(on border)
3:00 Introduction: Evi Tselika
3:30 Dr Gabriel Koureas- Nicosia: Memory, Place, Trauma
4:00 Dr Anna Grichting- Green Line Scapes. Nicosia's Dead Zone as a River of Memory.
4:30 Dr Cameron Cartiere- Public Art and Social Engagement in Contemporary Art
5:00 Pafsanias Karathanasis- Geographies of graffiti and street art in the ‘old town’ of Lefkosia/ Lefkoşa
5:30 Dimitris Taliotis- Analysis and presentation of artistic collaborative work in the Public
space of Nicosia
6:00 Sumer Erek- Presentation of the artist’s work in the Public space and how he uses social
engagement (via the internet)
6:30 Roundtable Discussion
7:30 End
Location 1

Workshops and events on the 24th:
24 hour: Radio station experimentation by Antonis Antoniou

Throughout the day- *A presentation by the autonomous left group of the history of their rich relationship with the city of Nicosia. Agrammata. Location 2

10:00- 12:00- Illegal parking lot turned to ad hoc playground. Location 3
* Drawings of young people using the theme of the old city that will have been turned to large stickers. Participants will transform this empty parking lot through painting and drawing on other surfaces. This will act as an ad hoc playground and will remain as such for the rest of the day. Evi Tselika

12:00- 13:30- Graffiti and stencil tour
*A tour of stencils and graffiti and their importance as a form of visual communication and social engagement in the walled part of Nicosia by Pavsanias Karathanasis. Meeting point @ Location 3

13:30- 14:00- Physical Theatre Performance in the Municipal Market- trading places
Performance will take place by Dance Theatre United (Natalie Heller). Location 4
14:00- onwards- Exhibition @ Apotheke.
*An exhibition of exploring the notions of the divided city, the use of the highly charged public space both as political statements and artistic endeavours and how the element of social/ spatial engagement has been presented by creative practitioners. Location 5

15:00- 16:30- Talking of Public Art
Talk on Public Art in the context of Cyprus by Christina Lambrou @ Location 6, outside the Archbishopry where the Big Mac used to reside

18:00- Onwards- Street Party @ Apotheke
*A historically traceable mode of public engagement with the city that has attracted multiple reactions and has partly rekindled the public interest for the Old Town of Nicosia. Location 5

Location 1: Conference held @ Cafe Berlin No2- Lefkonos Street
Location 2: Agrammata Space- Perkleous 82, off Rigainis Street
Location 3: Ad-hoc Playground @ the beginning of Trikoupi Street (near the Green Line)
Location 4: Physical Theatre Performance @ the Municipal Market on the Square by Diogenous Street
Location 5: Apotheke @ 23 Kleanthi Christofidi Street
Location 6: Public Art Talk @ space outside Archbishopry

Public works blog link

2010-04-15T01:39:00.000-07:00

http://publicworks2010.blogspot.com/

εδώ λιλιπούπολη- εκπομπή απ΄τη δεκαετία του '70

2010-04-07T02:07:00.000-07:00

θελώ και εγώ να χορέψω αγκαλιά με μια αγκινάρα το πρώτο μου ταγκό χεχεχεχε

to the man who has changed the way i see the world

2010-04-06T06:01:00.001-07:00

La terre est bleue-- Paul Eluard (L' amour La poesie)

2010-04-03T01:30:00.000-07:00

One of all time favourite poems... how i love surrealism...

La terre est bleue comme une orange
Jamais une erreur les mots ne mentent pas
Ils ne vous donnent plus à chanter
Au tour des baisers de s’entendre
Les fous et les amours
Elle sa bouche d’alliance
Tous les secrets tous les sourires
Et quels vêtements d’indulgence
À la croire toute nue.

Les guêpes fleurissent vert
L’aube se passe autour du cou
Un collier de fenêtres
Des ailes couvrent les feuilles
Tu as toutes les joies solaires
Tout le soleil sur la terre
Sur les chemins de ta beauté.

and in english....

The Earth is blue like an orange
Never a mistake words do not lie
They no longer give you cause to sing
It' kisses' turn to get along
The madmen and the loves
She her wedding-ring mouth
All the secrets all the smiles
And what garments of indulgence
To believe her quite naked

The wasps are flowering green
The dawn is worn around the neck
A necklace of windows
Wings cover the leaves
You have all the solar joys
All the sunlight over the Earth
On the roads of your beauty

Ολοι είμαστε πρόσφυγες, Του ΠΑΝΤΕΛΗ ΒΑΛΑΣΟΠΟΥΛΟΥ

2010-03-18T06:57:00.000-07:00

Ελευθεροτυπία, Πέμπτη 18 Μαρτίου 2010
Γεννήθηκα τη δεκαετία του '60 σε μια παράξενη γειτονιά.

Την Ελευθερούπολη στη Νέα Ιωνία, από οικογένεια προσφύγων του Γκιουλμπαξέ της Ερυθραίας και την Πόλη, όπως και οι περισσότεροι γείτονές μας. Η φτωχική πλευρά της Νέας Ιωνίας (εάν υπήρχε τότε εύπορη), με σπίτια χαμηλά, που τα περισσότερα είχαν χτίσει με τα χέρια τους οι Μικρασιάτες. Ενα δωμάτιο, μια κουζίνα στο πλάι, η τουαλέτα έξω, μια αυλίτσα, πάντα καθαρή με λουλούδια στη γλάστρα από τενεκέ. Οι παλιοί συχνά μιλούσαν τούρκικα μεταξύ τους, δεν δίναμε σημασία σε τέτοια πράγματα τότε, έτσι μάθαμε. Ακούγαμε και τις ιστορίες για την πλούσια και όμορφη πατρίδα που χάσαμε, όχι πάντα θετικές για την ευθύνη της μητέρας Ελλάδας, για τη φρίκη της καταστροφής, το αίμα, τον θάνατο, αλλά και την άσχημη υποδοχή που μας επιφύλαξαν οι Ελλαδίτες. Οι παλιοί τότε δεν τα ξέχασαν αυτά. Ηταν Μικρασιάτες μέχρι το τέλος. Εκλεισαν τα μάτια τους, πιστεύοντας μέχρι την τελευταία στιγμή ότι αύριο τα μαζεύουν και γυρνούν στην Ιωνία. Την παλιά, εκεί που ήταν άρχοντες, ωραίοι και δολευταράδες, περήφανοι Ρωμιοί, με τις μεγάλες εκκλησίες τους, τα δίπατα τα σπίτια τους, γεμάτα τα κελάρια με κρασί και σταφίδα, τα γλέντια του Αϊ-Γιώργη και την Κυριακή κρύα μπίρα και μεζέδες στα καφενεία της παραλίας στη Σμύρνη. Εκεί που κανείς δεν θα τους έλεγε υποτιμητικά «πρόσφυγες» ή «τουρκόσπορους». Αληθινή ειρήνη με τους Ελλαδίτες λίγοι έκλεισαν.

Τα σκεφτόμουν αυτά πριν από λίγο καιρό, περνώντας μπροστά από τα ίδια σπίτια. Οι απόγονοι των προσφύγων τα έχουν πια εγκαταλείψει. Κάποια γκρεμίστηκαν και σηκώθηκαν ξανά άχαρα. Πολυκατοικίες τούρτες, γκαράζ για την αυτοκινητάρα. Μεγάλα μπαλκόνια χωρίς θέα. Ανάμεσά τους και τα παλιά προσφυγικά. Αυτά που χτίστηκαν με το χέρι. Οι ίδιοι αυτοί τοίχοι, από λάσπη οι περισσότεροι, προστατεύουν σήμερα τα σώματα και τις ψυχές άλλων προσφύγων. Φτηνό νοίκι και καταφύγιο για χιλιάδες Πακιστανούς, Ινδούς και παιδιά από το Μπανγκλαντές. Αλλοι καημοί και άλλες ιστορίες θα ακούγονται τα βράδια στα στενά αυτά δωμάτια. Οχι πια η ιστορία της γιαγιάς, για το πώς πήγε περπατώντας 80 χιλιόμετρα δρόμο πάνω σε βουνά, για να γλιτώσει από τους Τσέτες, με ένα μωρό στην αγκαλιά, και τελικά πώς την έσωσε ο Τούρκος αξιωματικός από τους επίδοξους βιαστές της. Αλλά για τους δρόμους και τα ατέλειωτα μονοπάτια των βουνών του Αφγανιστάν, τα ποτάμια της Τουρκίας και το πέρασμα με βάρκα από το φουρτουνιασμένο Αιγαίο. Ιδιοι οι δρόμοι της προσφυγιάς και απαράλλακτοι. Και ξέρετε κάτι. Οι σχέσεις μεταξύ παλαιών και νέων προσφύγων είναι πολύ καλές στην παλιά μου γειτονιά. Και αυτό είναι προς τιμή όλων των Νεοϊωνιωτών.

Δεν έλειψαν και βέβαια κάποια επεισόδια ρατσιστικής βίας, αλλά οι δράστες λίγο-πολύ γνωστοί και μετρημένοι στα δάχτυλα των χεριών, όπως στην κατοχή οι δυο-τρεις Χίτες. Οι πρόσφυγες ξέρουν από προσφυγιά, έστω και εάν αυτή είναι της πείνας, της ανάγκης και όχι του βίαιου ξεριζωμού. Τα σπίτια αυτά, τα χαμηλά, τα ταπεινά και τα ετοιμόρροπα, ξέρουν να μαλακώνουν τους καημούς όσων κοιμούνται σε ξένη πατρίδα και ονειρεύονται το σπίτι που γεννήθηκαν και τα πρόσωπα που έμειναν πίσω ή έχασαν για πάντα. Είναι τοίχοι ποτισμένοι με νοσταλγία.

Πριν από καιρό επισκεφθήκαμε το Γκουλμπαξέ (Ροδονάς), το χωριό της γιαγιάς κοντά στα Βουρλά, στην επαρχία Σμύρνης. Τα σπίτια, πολλά σε νεοκλασικό στιλ, στέκουν εκεί ακριβώς, όπως ήταν την ώρα που οι δικοί μας έφυγαν βλέποντας από μακριά τα Βουρλά στις φλόγες. Βρήκαμε το σπίτι μας και χτυπήσαμε την πόρτα. Σε λίγη ώρα όλο το χωριό είχε μαζευτεί γύρω μας. Είναι Αρναούτηδες (Τουρκαλβανοί) της Θεσσαλονίκης, πρόσφυγες και αυτοί με την Ανταλλαγή. Απομονωμένοι από την τουρκική κοινωνία, ζουν πρόσφυγες στα σπίτια των προσφύγων της Νέας Ιωνίας. «Σελανίκ, Σελανίκ, Θεσσαλονίκη, Θεσσαλονίκη» μας έλεγαν, «εκεί ήταν η πατρίδα μας» και δάκρυζαν.

http://www.enet.gr/?i=arthra-sthles.el.home&id=142451

Lighthouses, fairytales and other stories...

2010-03-12T05:45:00.000-08:00

Fish and trees....

2010-03-02T09:00:00.001-08:00

Documentary- A place called Chiapas

2010-02-20T12:40:00.000-08:00

Tania Tsanaklidou- O anthropakos

2010-02-18T06:03:00.001-08:00

For Rozy

Aubrey Williams: Now and coming Time @ October Gallery

2010-02-02T01:59:00.000-08:00

Aubrey Williams: Dawn & Evening Star (Olmec Maya series) 1982. Oil on canvas, 132 x 208 cm© Aubrey Williams Estate

I am running some workshops for children working with Mayan Art as part of the Aubrey Williams exhibition at the October Gallery in London.
The paintings are beautiful and really worth seeing. Williams who moved to London from Guyana in the 1950s was one of the artists that operated at the initiation of multi culturalism in Britain. His mixture of figurative and abstract traditions, as well as the fusing of his transatlantic experience constitute him as a very important artist whose life movements established him as a highly influential artist on both sides of the ocean. It will be running from 04 January 2010 to 03 April 2010. You should check it out!

http://www.octobergallery.co.uk/exhibitions/2010wil/index.shtml

Public Works Nicosia 2010

2010-02-01T02:21:00.001-08:00

http://publicworks2010.blogspot.com/

Woman and fish underwater

2010-01-29T02:21:00.000-08:00

some of my fruity characters

2010-01-19T10:16:00.001-08:00

The Mayan God of Cocoa... Ek Chuah

2010-01-03T11:32:00.000-08:00

When you next have a chocolate, a cup of cocoa or even a delicious spoon of Merenda... think that according to the Mayans you owe it all to the above God.
Ek Chuah
:)

thinking of life in el salvador... saudades!!!!

2009-12-30T06:33:00.000-08:00

To my Adam

2009-12-23T03:16:00.001-08:00

I descend from Eve
My name is Evi
I have an apple.

para ele... fred astaire, ginger rogers

2009-12-11T07:52:00.000-08:00

Article in Brazilian Press about exhibition Intralinguas

2009-12-08T01:31:00.000-08:00

An article where a photograph from my piece in Intralinguas exhibition November/ December Rio Grande do Sul, Brasil

First anniversary of shooting of Alexandros Grigoropoulos

2009-12-07T03:09:00.000-08:00

Demonstrations have been since yesterday marking the first anniversary of the shooting of Alexandros Grigoropoulos by a policeman. These are some of the images from Athens yesterday 6th of December 2009

Lefkosia by Russian Grigorovitch Barksy 1772

2009-12-03T03:27:00.000-08:00

Barksy on his travels 1723-1747....

Traditional Cypriot Professions...

2009-12-03T03:21:00.000-08:00

Yiannis Ritsos...και να αδελφέ μου... and so my brother

2009-11-30T07:48:00.000-08:00

Και νά, αδελφέ μου, που μάθαμε να κουβεντιάζουμε
ήσυχα-ήσυχα κι απλά.
Καταλαβαινόμαστε τώρα ― δε χρειάζονται περισσότερα.
Κι αύριο λέω θα γίνουμε ακόμα πιο απλοί
θα βρούμε αυτά τα λόγια που παίρνουν το ίδιο βάρος σ’ όλες τις καρδιές, σ’ όλα τα χείλη
έτσι να λέμε πια τα σύκα: σύκα, και τη σκάφη: σκάφη,
κι έτσι που να χαμογελάνε οι άλλοι και να λένε: «τέτοια ποιήματα
σου φτιάχνουμε εκατό την ώρα». Αυτό θέλουμε και μεις.

Γιατί εμείς δεν τραγουδάμε για να ξεχωρίσουμε, αδελφέ μου, απ’ τον κόσμο
εμείς τραγουδάμε για να σμίξουμε τον κόσμο.

Καπνισμένο τσουκάλι, 88-97. Μετακινήσεις (1942-1949). Ποιήματα, Β´. Εκδόσεις «Κέδρος», 1961. 250.

And in english....

And so my brother, at last we have learned how to discuss
quietly, peacefully and plainly
We understand each other now- nothing more is needed.
And tomorrow I say, things will be even simpler
We will find those words that carry the same wight, in all hearts, on all lips
so that from here on we cann tell things as they are; we can call a spade a spade,
and in this way others will smile and say: "I can write a hundred
such poems in an hour". That after all is what we want.

Since my brother, we do not sing in order to be conspicuous in the world
We sing to unite the world.

(1942- 1949). Smoking pot in Movements.

Exhibition 'Entrelinguas' in Brasil

2009-11-30T02:29:00.000-08:00

http://mostraentrelinguas.wordpress.com/about/

From 27th of November in Pelotas, Rio Grande do Sul, Brazil
Work of mine included: Woman as prostitute of ethnicity

The Fiesta Resistance

2009-11-25T06:24:00.000-08:00

Open 11 - 5 Monday to Friday, 11 - 4 Sunday.
Ground Floor, 46/48 Commercial Street, London, E1 6LT.

Old Postcards from Nicosia

2009-11-23T02:28:00.000-08:00

Postcards I found in bookshop.

Pika Bou

2009-11-22T07:41:00.000-08:00

Looking North.... Looking South

I do not forget.... Ethinicism....

2009-11-20T15:51:00.000-08:00

Tracing Aphrodite and her celebrations???

2009-11-20T03:04:00.001-08:00

20 years from the fall of the Berlin Wall

2009-11-09T09:12:00.001-08:00

Today the 9th of November 2009, was the 20th anniversary from the fall of the Berlin Wall. A date that has come to represent the end of the political era of the cold war and the beginning of the globalisation era.
The 'Festival of Freedom' planned to mark the anniversary will see giant dominos that will feature in a live performance and will include the designers of the Domino Action, politicians, contemporary witnesses and guests from all over the world. The former German Foreign Minister, Hans-Dietrich Genscher, and the Nobel Peace Laureates Kofi Annan, Muhammad Yunus and Mikhail Gorbachev will be among the guests.
Being from the last divided capital of Europe and working with the ideas of the border in a multi faceted manner, it is no surprise that this day is on my earliest media memories....
I have added some images to demonstrate the events that are taking place in Berlin today...

Example from the exhibition from above

Example of the giant dominos set up

Example from Berlin of Past and Present (a collage from the Festival organisation)

Artist Claudia Bernardi at Event for the preservation of historical memory in El Salvador

2009-11-02T12:48:00.000-08:00

elsalvador.com :.: Realizan evento por la preservación de la memoria histórica salvadoreña

The above is a link for a discussion concerning the preservation of Historical Memory in El Salvador.

Claudia Bernardi international artist and educator at School of Art and Open Studio in Perquin an (international arts education program that serves youth and adults) in conversation with 'Santiago' and others in the Museo de la Palabra y la Imagen, San Salvador, ES. Bernardi has some very interesting work in many places which are in a war or post war situation.
A native of Argentina she joined the AFAT (a forensic anthropology team established in 1984 under the new government in Argentina to supply evidence of violations of human rights carried out against civilian populations) in investigations of human rights violations in El Salvador, Guatemala, Argentina, and Ethiopia. In October, 1992, Bernardi joined her sister as an assistant at the El Mozote massacre site in El Salvador, located in a district where over one thousand men, women and children were murdered 11 years earlier by the Atlactacl Battalion, a U.S. trained counter-insurgency force.
She later created archeological maps and transcribed the testimonies of families of the “disappeared ones.” From this experience, Bernardi developed an art practice focusing on how art could be used to educate, and to articulate the memories of atrocity survivors. In 2004, Bernardi was awarded an Honorary Doctor of Fine Arts by the College of Wooster, Ohio.
I am adding some examples of her work below...

Mural in Perquin (own photo 2008)

Machine of Untruth 1996

This is a mural that was created for the grandfathers and grandmothers of Perquin,'Mural de los Ninos de ayer'

Murals Murals Murals round the world

2009-10-28T08:20:00.000-07:00

Towers of Poverty: Dusseldorf, Germany

Not one more death: New york City

Artist Bizare: Athens Greece

Artist Bizare: Athens Greece

A brazilian takes photos in Lefkosia

2009-10-26T15:26:00.000-07:00

View from the current Eastern most European frontier

Lefkosia autumn evening

2009-10-17T11:53:00.000-07:00

Work of Cypriot artist Kyriaki Costa

2009-10-09T16:51:00.001-07:00

Escultura social: social sculpture exhibition

2009-10-03T06:10:00.000-07:00

2009
Nasher Museum of Art- Duke University, USA

This exhibition explores recent developments in contemporary art in Mexico City through the theme of escultura social (social sculpture), a term derived from the German conceptual artist Joseph Beuys, who proposed that sculpture, if made from everyday materials and displayed in a "real world" setting, has the potential to affect society most broadly. The show focuses on works by a generation of young artists who came to maturity in Mexico City in the 1990s. It focuses on four themes: the transformation of everyday materials, social engagement with the public, the role of language and text in contemporary art, and the impact of music, popular media and performance.

Escultura Social includes sculpture, installation, photography and video as well as conceptual works by artists including Maria Alos, Gustavo Artigas, Miguel Calderon, Abraham Cruzvillegas, Daniel Guzman, Damian Ortega and Pedro Reyes. Works by Dr. Lakra (best known as one of Mexico's most famous tattoo artists) and the pop/rock band Los Super Elegantes are also included.
(Exhibition text)

Vasia Markides: Hidden in the Sand 2008

2009-09-28T02:28:00.000-07:00

The trailer of a documentary about the ghost town of Famagusta. Touching on notions of patriotism, propaganda and divisions.

Istanbul Biennial... a flood of political art

2009-09-23T06:20:00.000-07:00

Istanbul Biennial's end of the world show
Has art lost its way?
Curators and artists at the Istanbul Biennial certainly think so – and they're taking action
Fiachra Gibbons guardian.co.uk, Tuesday 22 September 2009

Final reckoning ... Jesse Jones's film The Rise and Fall of the City of Mahogany (2009), shown at the Istanbul Biennial. Photograph: Jesse Jones

If you believe the curators of the Istanbul Biennial, the most political since the fall of the Berlin Wall, we are in the End of Days. The crisis has come like an avenging angel to cleanse the earth and art with it. In this final reckoning, there will be no place for the hedonistic nihilism of the last 20 years, nor for the artists who have become playthings of the rich. Only politics can save us now. All that remains is to pickle Damien Hirst, stuff Sarah Lucas and put Tracey Emin to bed. The tumbrils that took Bernie Madoff and Lehman Brothers will soon be back for Saatchi and Serota. And as if on cue, Istanbul was deluged on the biennial's opening night by an apocalyptic storm, one that killed 32 people in a suburb built on sand during the last speculative building boom.

Art biennials are expensive, often largely irrelevant affairs, and not usually marked by calls for a new world order. But Istanbul's curators, the Croatian all-female collective What, How & for Whom, are seeking nothing less than a refounding of art on Brechtian principles, as a motor for social change. Art, they say, has lost its way, while the public (who spend less than 30 seconds in front of the average video piece) are too gullible to notice.

A crack force of right-thinking artists – the dead as well as the living – has been assembled to support their argument. Administration of Terror, by the Paris-based group Bureau d'Etudes, sets out scientifically to link the banks, intelligence agencies and shadowy business networks that secretly rule the world; American artist Trevor Paglen is tracking the spy satellites that fly over Istanbul. The floors are strewn with the crumpled pages of human rights reports on Turkey; questionnaires ask gallerygoers if we think the event is "politically instructive enough for the audience".

The end has already come in Jesse Jones's video piece, Mahogany, a masterful rejigging of Bertolt Brecht's bitter fable about the fall of a city dedicated to pleasure, shot in the same arid patch of Australian dirt as Mad Max. The city's messiah (who looks not unlike Sam Taylor-Wood) boasts that there is nothing that cannot be done in this free-market heaven; banners roll across the desert: "For Love, For the Selling of Love, For the Just Division of Spiritual Goods, For the Unjust Division of Temporal Goods, For Brute Stupidity, For Property, For the Rich".

The biennial's manifesto claims that "politically neutral art is a means of policing the art world". Then comes the rub: it believes in a just world order, but "communism is still the only name for that desirable project". And no, nobody's laughing. To prove the point, the Russian collective Chto delat re-examine the whole Soviet project and its aftermath before proposing an alternative version.

Yet somehow the biennial escapes its own rhetoric, particularly in the venues furthest from its base on the Bosphorus. The recently abandoned Greek school in Sisli – where little Greeks were turned into little Turks – has some of the most interesting work, even if this potent symbol of slow-drip ethnic cleansing at first threatens to overwhelm it. Israeli film-maker Avi Mograbi has taken Brecht at his word by producing his own version of The Threepenny Opera, in which a commando wrestles with his conscience over his part in the murder of an unarmed Palestinian policeman. Mograbi's Tel Aviv neighbours, Ruti Sela and Maayan Amir, mine a parallel vein of men and their weapons by filming their hotel-room encounters with men they have met online. The new political art is at least funny: in Unemployed Employee: I Have Found You a Job!, young people from Istanbul fold and unfold fashion T-shirts for the minimum wage in a mock boutique.

Elsewhere, artists have taken up arms where mainstream politics and journalism are failing: an architectural project tries to find solutions to the occupation of the West Bank; Rena Effendi's photographs document the damage wrought by the new oil pipeline that feeds Europe. Curiously, the biennial has not risked going out on to the streets, strange at a time when protest has become almost a branch of performance art. There is also more than a whiff that this is eastern Europe's revenge on the lingering prejudice that its art is second-rate, permanently "in transition".

So has political art really arrived? Or do these artists protest too much? As the biennial was installed, Istanbul police raided a house in a wealthy suburb where nine young women had been held by a TV company that had promised to make them stars. After over a month of being filmed by hidden cameras, only one girl complained. Charles Saatchi's "X Factor for artists" starts on BBC2 in November, to coincide, of course, with his first show of British art in St Petersburg. Saatchi will play himself as the unseen Big Brother pulling the strings, representing pure capital. There has been no shortage of takers for that, either.

Fiachra Gibbons for the Guardian 22 September 2009

Cyprus in the early 1900s by J P Foscolo

2009-09-21T01:56:00.000-07:00

Caledonian Falls in the early 20th century

Scene

Cypriot Woman

Cypriot Man