We thereforewelcome to the city of Athens, asignificant art affair which givesthe opportunity to artists to showthe digital dynamics of theirexpression, and the opportunity toart lovers get educated culturallythrough new parameters. On behalf of the citizens of Athens,I would like to congratulate theorganizers of the 6th Athens Video Art Festival and to welcomeall the participants to the city ofart and culture.
The city of Athens. Nikitas Kaklamanis, Mayor of Athens. This great tribute to digital culture and new technologies is realized for the sixth year, and has gained the support of artists, institutions and audience, that attend it in a large scale every year. The goals of the Tainiothiki Greek Film Archive are to a great extent converging with those of the Athens Video Art Film Festival: to cultivate a new cinephilia and open the audience to new forms of experimental art and the Avant-Garde.
Both institutions focus on the artistic forms that explore the transition from film to video and to the digital. We also salute the collaboration with Greek and foreign universities as well as the presentation of the work of young artists. Maria Komninos, Assoc. The Technopolis of the City of Athens covers an area of approximately 30 acres and constitutes a live industrial museum of incomparable architecture and one of the most interesting in Europe.
It is located in the old Gas factory in Athens, known as "Gazi", next to the Keramikos close to the Akropolis. Its gradual transformation into a versatile cultural center, hosting various events, gives visitors the chance to wander around in a space full of works of art, knowledge, and sentiments. It has been in operation since and is dedicated to the memory of the unforgettable composer Manos Hatzidakis. The symbol of Technopolis is the original sculpture "the Ball of the Millennium", a work of Nikos-Giorgos Papoutsidis, which portrays Earth being surrounded by olive branches and symbolizes the wish and the hope that peace and humanity shall prevail around the world.
From the Mousouri Theatre on Kolokotroni Square to the Asty cinema on Korai Street, and from there onto Maxim, Esperos, Apollon, Attikon, Trianon and, of course, the screening room on Kanari, from the Athens Film Society to the Greek Film Archive in founded by Aglaia Mitropoulou, and up to the present, when it has finally settled into its new home, the journey of the Greek Film Archive has taken almost sixty years.
The design concept for the new premises of the Greek Film Archive was influenced by two important factors. The first was the sitting of an important cultural centre in the now-emblematic area on the crossroads of two major arteries, Iera Odos and Pireos streets, on the junction of three neighborhoods: Kerameikos, Gazi and Metaxourgeio.
The second factor was the architectural approach to an old postWorld War II building that used to house a car repair shop and that was of little architectural value on its own, but which had a certain sentimental and historical value due to the open-air movie theatre Lais, which operated on its rooftop from to Indoors, designing a space that could incorporate all the activities of a modern cinema space that would be appealing to a more eclectic, as well as a broader audience — film screenings, exhibitions, educational activities and research, was the question.
The ground floor, with two screening theatres — one seating and the other, the cine-club, 50 — is where the heart of the building lies: like light boxes they harbour and share the magic of the art of cinema.
The rest of the building includes a reading room, an archive, administrative offices and storage spaces. The settlement of the Greek Film Archive into its new home at the Lais building, heralds a new era in the history of the institution and in the Greek. The Archive is now equipped with all the infrastructure it needs to fulfill its dual role as a museum and digital library, but also to continue nurturing a new generation of cinephiles.
Digital Art is indisputably the Art of modern times. It is graphic images that are made by pixels, more than paints or pencils.
Digital art is definitely selective. A digital image can be surreal or recomposed: it can be an image created completely digitally or it can include elements from other mediums that have been scanned and modified.
Electronic technology explores the parameters of the visual world. It peaks in an emancipated fantasy giving the artists a profusion of colours and a blistering procession of shapes, forms, types and movements.
The artists that work with these devices enjoy artistic emotions and adventures without precedent. Video Art is one of the most subversive forms of art…digital works of art that use video as a medium towards expression.
Through video, artists produce or reproduce images with artistic concepts using shapes and colours. Electronic forms of art is a phenomenon of modern society still alive and in progress. Every day life was in transition and art was called to follow up.
Through these constant changes and transitions Video Art was born and tried to bloom The two first decades of its life the content of video works was mainly experimental and followed the tracks of other mainstream movements like Performances and Happenings. Antonia Pilarinou Video Art Curator. The term Animation arose from the Latin verb Animare which means give life. Animation is the technique of making inanimate objects or drawings appear to move in motion pictures or computer graphics.
Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions in order to create an illusion of movement. A series of drawings are linked together, and usually photographed by a camera. The drawings have been slightly changed between individualized frames so when they are linked and played back in rapid succession, there appears to be seamless movement within the drawings.
With the introduction of computers, animation took on a whole new meaning. The evolution of technology allows artists to produce animated films made exclusively on a computer. These so called Graphic Animations use non-drawn flat visual graphic material 3-D computer generated characters, photographs, newspaper clippings, magazines, etc. Digital images are images that have been processed digitally or have been created using digital techniques.
Installations are one of the most important forms of contemporary art worldwide. They are artistically activated spaces, in which the spectator is invited to participate and experience them with all his senses. These artworks fill, surround a space and challenge the spectator to actively interact with them, to activate them so that they can activate the surrounding space. Spectators are often called to take part in an artistic experience, which is not always far from painting, sculpture or architecture and requires the activation of hearing, vision, touch and even scent or smell, in order to experience the work in all levels and become organic elements of the work.
Video Installations are Installations which incorporate video works or combinations with other mediums Multimedia Installations. Through these projections or mediums, these Installations create a complicated visual construction, that reacts to the surrounding space and requires the non-mediate participation of the spectator. Films, slides and objects are combined and contrast towards the creation of a multifigural visual image.
Three aluminum shelves, at the highest shelf a big bottle of milk, half full, is placed. From its small golden fountain every three seconds a drop of milk falls down into a metal bowl that is put on the floor. Inside the metal bowl a milky surface is formed slowly by the drops and a video is projected on loop.
The video shows the portrait of the artist with his eyes closed opening his mouth every three seconds, waiting until the drop falls and then closing it.
Every minute of this symbolic feeding procedure the portrait changes. At first is dressed in white, then appears naked, then is dressed in black, then again naked, then again white, on loop. The composer wrote this music inspired by the myth of Persephone. This sensory installation is tactile and sonorous. They are transformed into real sonorous human instruments. This installation needs two spectators.
The first person is invited to put his hand on the shiny ball. In contact with this object, his body gets sensitive and reactive to other living bodies. If the person remains alone, nothing happens, there is no reaction.
He must invite another person to touch him. Each touch generates variable sounds. The various sonorous vibrations change with the intensity of contacts and spectators. In a multimedia version of this picture the buildings could be the pixels of a video, having the same result. ChaoDependant investigates the use of technology to explore invisibly structured spaces, in particular the attraction and repulsion of magnetic fields.
It is based around a magnetic pendulum, and a collection of reactive pods, which contains magnets, sensors and lights. The magnets in the pods influence the motion of the pendulum so it becomes gently chaotic, while the pods react to the pendulum by lighting up and triggering a dynamic, evolving soundscape.
ChaoDependant is a cross disciplinary artwork that brings together in a mesmerizing interactive manner design, craft and technology. This blond girl embodies a generic child attempting to convey a product in both a language and an experience that are foreign to her. This is in and by itself a subtle illustration of the pathology malady of our globalized consumerist society.
The theme of my work is the analysis of spaces of memories. These spaces of memories are not only spaces in the topographical sense like public space, interior spaces or spaces of remembrance but also spaces I develop further.
Besides the physical space I deal with the psychological space. I see my body like a space of memories and accordingly work with it. What viewer see depends on his movement and position. No need of special glasses or any other equipment. Any number of people can take part in installation simultaneusly.
Participants generate sounds by walking across piano keyboard, painted on the pavement. Tone, intensity and duration depends on their behaviour. We are always looking somewhere for inner peace of our soul whether it is in a place,in a feeling or in ourselves. Human needs both — peace and dynamics. Standing one hour in a city and a forest I was trying to find my inner and outer peace and dynamics.
The element of water does not exist, but just its reflection. Time and space are questioned due to reality absence. Film recorded while walking on the streets of Amsterdam. They are demonstrating against these reproaches with their exposure and participation in parallel events. Piggtherapy is locative active project. This work is based on my thoughts about life and identity through memory.
Work contains few elements that tell the story : the sea as the cradle of life, ashes as the remains, drawing hand as the movement, drawing as mark and finally loop as the cycle. The point was to try to capture the poetics of living in few words…something like haiku. The piece incorporates neural networks, face recognition, hidden cameras, computer vision, projection mapping, and a sculptural installation in the form of neurons and synapses.
As one approaches the installation resembling a neural network, they begin to see faces projected into the glass neuron pieces. The real shock comes when they realize that the face appearing on the glass neuron pieces is their own face. This is accomplished through a hidden camera in one of the glass neuron pieces performing a powerful computational algorithm for face tracking.
This videoperformance shows the artist attempting water as a new habitat. The absurdity and the failure of the attempts is also exacerbated by the order rotated degrees video presentation reinforced. A face embeds itself on flour and begins to bury in the pile. With repeated blowing the flower rises as fountain high.
The sinking powder covers more and more the head and back, and then connects to an abstract entity. The flour as a cultural asset and the existential process of breathing becomes a homogeneous cyclical process. Two parallel projections, one opposite the other. Two bodies on either side are moving, creating a dialogue. Their movement is repetitive, almost endless, perpetual, creating a sense of languor due to their ritual motion.
Their bodies counter on their movement, while at the same time form the basis of their interaction. This two-substance movement goes beyond the boundaries of an autistic repetition. Repetition and languor are the component parts of a ritual process, aiming to alter the stream of a conscious state. These bodies perform a ritual in order to surrender to a new state of consciousness. The viewer confronts an old woman who avoids seeing. The old woman in the film avoids being afflicted by the Disaster, the anguish, however, is confirmed within the denial: the denial of knowledge of disaster.
A symbolic work. The performer lifts her hand. A womb is revealed. Broken gallery is a story of human relations told on a different way, with part of body most people never use to show their characters, their personality.
This is just one of many stories, one of many possibilities, one that we choose…for now. The artist is trying to see the city from a different angle. The city through his eyes is not an industrial sad place anymore but a sum of colorful organic elements full of energy and joy. Although confined in physical boundaries, its insubstantial figure constantly fluctuates, for its limits narrow and spread as long as we exist in between them. We perceive space depending on our ordinary disposition, and it is this very projection that we experience as the ever-changing state of space.
Space, through this process, becomes a mirror of our self. During this process of delimitation, we experience a number of contradictory emotional states; we oscillate between security and insecurity, suffocation and capaciousness, peace and panic, fear and tranquility.
This process of delimitation, albeit an illusion, constitutes a process of vital importance, as it differentiates us by infusing the notion of characteridentity. The video describes the process of memory. Colorful drops fall in the white level and little by little they present a form, afterwards the drops they recede making the form be lost and to remain again the white level. As the recollections come in the brain and compose forms and later are lost, thus somehow and the drops they fall, they compose the form and they are lost.
The video is simple reception and has not suffered digital treatment. Performance is an art form, in which various artistic acts poetry, dance, music, painting, video take place in an intense emotional atmosphere, awaiting and incorporating the impulsive reactions of the audience.
Once a performance is over, it can never be completely recreated. During about 30 minutes, the spectator is guided in a succession of visual and sound micros-universe. It is a synthesis software, treating sounds and abstract images, able to create a dialogue with reality by using tactile sensors. Thus, it creates an interactive, sensitive relationship with the audience.
It enables performers to create, modify, observe and manipulate moving 3D shapes. By manipulating the sensors, the performer can continuously step in on the whole structure by playing with the different variables: order, side-by-side positioning, overlapping, speed, rhythm, harmonic pitch… Thus, by placing new materials, users create sustained melodies made of rhythmic relationships animated by subtle temporal intervals.
The performers appropriate the system as they create particular processes of repetitive poliphony where parts overlap then disappear into hypnotic swirls. Myriads of visual and sound shape are accumulating in hypnotic superpositions of sounds. Each performance offers a new dialogue or visible duel.
In the opposite of the standard veejaying and deejaying performances, the spectator follows exactly the musical and visual evolution as well as the performers. Here, everything is revealed and linked. The duel reveals moments of complicity, doubts, errors, chaos The Random concept developed by John Cage is also a source of inspiration for their artwork.
Each performance offers a multitude of possibles made by minimalist elements. The musical dialogue gives life to sound creations in suspension. In connivance with repetitive music, the duo plays with unstable and reactive sounds and tries to immerse spectators in body experiment into a sound space favourable for daydream. The team was inspired by a multitude of visual artists and filmmakers on the notion of loss questioning the collective extensions of memories and then exploring the active procedures of finding.
Each participant receives a photograph of one other person, randomly chosen among photographs of people taken before the interaction. The role of photography as an evidence of pseudo-definition of identity constitutes the first energetic stage for the inversion of this given loss in a process of unexpected finding and shifting towards the initially lost communication.
The second part of this project consists of the projection of the filmed and edited footage with the original music of Giannis Lamprakos and Loukas Giannakitsas. This video consists of the existing footage and of interviews by people of different professions detective, doctor, lawyer, gravedigger on the notion of loss in the context of their professions. The projection point will be the venue where people, who did not manage to discover one another during the interaction but also the ones who did, will meet in order to enjoy the result of their wandering.
The project is highly connected to Guy Debords and the situationists perspective in researching the new role of the urban environment in an era where:. The spectator feels at home nowhere, for the spectacle is everywhere The spectacle's function in society is the concrete manufacture of alienation Guy Debord, The Society of the Spectacle And to take one of Guy Debords quotes one step ahead, what if not only the image reproduces.
The interaction of a projection and a dancer creates a surreal space, where common visual perception seems not to be valid any more. While trying to rebind, a kind of cat-and-mouse relationship emerges. We utilize this story as a playground for creating a peculiar illusion effects and virtuality in the eyes of the spectator. Web art allows private viewings of an art work and breaks like no other form of art the bondage of traditional exhibition spaces. The difference between computers and the Internet has been compared to the difference between the ride with a ship with glass bottom and free diving.
The passengers of the ship can see the bottom of the sea while they remain stuck in their seats. But the divers dive straight into the ocean.
Like diving, Web Art calls people to abandon their adherence to the common tangible world. The audience dives into an environment that is multisensory and interactive. It is plain imagination. This new reality exists without a material equivalent. Ilias Chatzichristodoulou Web Art Curator. With the goal of public awareness and action involving environmental issues, Athens Video Art Festival presents this year eco-sensitive works of all its categories.
With respect to visual creation as well as the important ecological and environmental issues of our times, Athens Video Art Festival has invited contemporary artists to create works and be inspired, submitting their own views on these matters. Akousmaflore is a small garden composed of living musical plants, which react to human gestures and to gentle contact. Each plant reacts in a different way to contact or warmth by producing a specific sound.
Our invisible electrical aura acts on the plant branches and encourages them to react. The plants sing when the audience is touching or stroking lightly them. A plant concert is created. Andy Warhol has indisputably been one of the greatest and most popular artists of the 20th century. His artistic activity on TV, cinema and video art forms a significant part of his work.
Andy Warhol recorded in his artwork his social and cultural environment, being meanwhile himself a source of inspiration and an object of art for many other artists. Athens Video Art Festival presents this year video art works where Andy Warhol himself, his artwork and social circle at the time — from superstars and musicians to artists and celebrities - figure prominently.
His personality and artwork seen and approached by his friends-artists are presented in a both unique and spherical way, revealing an significant part of his hectic, yet fragile existence. Antonia Pilarinou, Tribute Curator. Using a hand-held camera, Menken captures Warhol and his assistants, including Gerard Malanga, as they work at the Factory.
With her husband, underground filmmaker and poet Willard Maas, Menken created the Gryphon Group which also included Stan Brakhage, Charles Boultenhouse, Gregory Markopolous, Ben Moore, and Charles Henri Ford , as a cooperative organization to further the production and distribution of independently made films. She filmed lots of short movies, some with Willard, and she even did one on a day in my life. How did Andy Warhol meet Ulrike Meinhof?
By chance. Ulrike Meinhof is one of the legends of our age. Completely his opposite, she turned politics into tragic poetry; she had to meet Andy Warhol, who turned exhausted art into daily food. The artist, who gained freedom in complete unity with the existing world, and the revolutionary, who did not find freedom until death, they had things to say to each other.
Filmmaker and poet Willard Maas was married to filmmaker and painter Marie Menken. Together they were a legendary couple in the New York art world, not only for their influential underground films, but also for their lavish parties and salons, which brought together artists, writers, filmmakers and intellectuals. So I decided to hand him the award at the Factory, film the occasion, and show the film at the Award Presentation show at the New Yorker Theater.
Andy thought it was a good idea. He got some of the superstars together for the occasion. I was on my way to the Factory with three rolls of film when I remembered that I had nothing to present to Andy. So on the corner I bought a basket of mixed fruit. Gregory is in the film, too, since the camera was motorized.
I slowed down the film in the printing as a form of tribute to Andy: most of his films--actually all the films from that period--were projected at 16 frames per second, though they were shot at I did the same thing, but I had to do it by means of optical reprinting because I wanted to add sound to the film: Supremes music which was the daily background at the Factory during those days. Initially interested in celebrity, Warhol, by the time of this video, had in fact become a celebrity.
The piece begins with a lengthy telephone conversation between Warhol, Viva and Brigid Polk. This was one of several conversations Viva and Auder had recorded unbeknownst to Warhol until late in the conversation.
Its highlight is when Viva compares the pain of childbirth with the gunshot wound Warhol suffered at the hands of Valerie Solanas in Money and compensation are a consistent topic throughout. Over seven years this 14 months - a significant part of my life. Astypalea is a harsh, mountainous island off the tourist track. On a very clear day, from the top of the old town you can see Rhodes - miles away.
From early morning till the glorious golden evening I sat in my ancient hilltop house, more a cave really, singing and playing guitar with occasional breaks to lie on the beach, go to great bars and restaurants, or smell the night lilies. I recorded a lot of this musical endeavour in glorious lo-fi on a Sony Professional Walkman, and I have about 40 hours of sketches from this time.Αρχείο/Collection: Συλλογή Δίσκων Βινυλίου: Κατηγορία/Category: Έντυπα-Εκδόσεις-Αποκόμματα Τύπου.