TABLE RONDE 22/10/2020
De l'art politique et de la politique de l'art
avec Vassilis Salpistis, Eirini Linardaki
et les artistes d'Occupy#2
TABLE RONDE 05/11/2020
Regarder en réseau
avec Vincent Meyrignac (Noucmas),
Fotini Banou et Dimitris Alexakis (KET),
Benoît Durandin (O Meteoritis),
& Delphine Leccas, commissaire.
TABLE RONDE 18/11/2020
Comment l’artiste devient citoyen?
Moderator: Eleni Riga
avec Ex Situ (Theophilos Tramboulis,
Eleni Koukou), Julien Gardair,
TABLE RONDE 02/12/2020
Art and accessibility
Moderated by: Eirini Linardaki and Eleni Riga
avec Mural Arts Philadelphia (Jane Golden),
ArcAthens (Aristides Logothetis),
Onassis AIR (Ash Bulayev, Myrto Katsimicha,
Nefeli Myrodia), Daniela Kostova.
moderated by : Dr.Sozita Goudouna
(Counselor of Occupy #2)
with : Βill Balaskas (Director of Research, Business & Innovation, School of Art & Architecture, Kingston University, London),
Care Collective (Andreas Chatzidakis, Catherine Rottenberg & Lynne Segal), FILAF Festival: Sebastien Planas (President FILAF) and Rachel Simon (Director FILAF),
Katerina Koskina (Curator, former director EMST), Eero Laine (Assistant Professor, University of Buffalo, State University of New York), Vassilis Salpistis (Visual Artist & the team of Occupy #2)
TABLE RONDE 17/12/2020
(Un)Occupied: On Collective Authorship, Institutions and Care
© Raymond Pettibon. Courtesy the artist and David Zwirner
Avec : Yves Citton (Philosophe),
Estelle Baudou (Post-doctorante à APGRD et metteuse en scène),
Cedrick Eymenier (Artiste- Occupy #2),
Julien Gardair (Artiste- Occupy #2),
Athina Ioannou (Artiste - Occupy #2) &
Eirini Linardaki (Artiste et conceptrice de Occupy Art Project)
Coordinatrice : Angeliki Poulou (Medea Electronique), conseillère d'Occupy #2
TABLE RONDE 21/12/2020
L'artiste, entre chaman
TABLE RONDE 04/02/2021
Vulnerability & resistance in
the public space
Moderator : Eleni Riga
With : Maya Juracán, Elpida Karaba, Sandra Monterroso,
Mary Zygouri & the team of Occupy#2
*Crédit: Mary Zyrougi, ”LIQUIDATIONS” IILA, Istituto Italo-Latino Americano, Rome (IT), Studio Stefania Miscetti, Rome. Photographer: Roberto Dell'Orco
Prenant en considération le contexte dans lequel nous travaillons, y compris les entités diplomatiques et bureaucratiques:
Les artistes et les curateurs profitent souvent d’un statut particulier qui facilite leur déplacement pour vivre et créer à l’étranger. Quelle est leur contribution et quelle est leur responsabilité face à la ville et aux citoyens qui les accueille? Comment l’artiste lui-même devienne citoyen?
Il s’agit d’une invitation à partager des méthodologies artistiques et des expériences travaillant de façon permanente ou temporaire avec une culture autre que la nôtre.
Note: Pour référence, la citoyenneté artistique est une métaphore pour l’artiste qui contribue de façon directe et remarquable avec son travail au sein de sa communauté, souvent dans des zones ou des groupes de personnes financièrement ou socialement marginalisées.
Taking into consideration the context in which we work, including diplomatic and bureaucratic entities:
Artists and curators often enjoy a special status which allows them to travel, live and create abroad easily. What is their contribution and what is their responsibility towards the city and the citizens who welcome them? How does the artist himself become a citizen?
It is an invitation to share artistic methodologies and experiences working permanently or temporarily with a culture other than ours.
Note: For reference, artistic citizenship is a metaphor for the artist who contributes in direct and remarkable ways with their work to their community, often in financially or socially marginalized areas or groups of people.
Art and accessibility
Moderators: Eirini Linardaki and Eleni Riga
ArcAthens (Aristides Logothetis)
Daniela Kostova, artist -
Onassis AiR (Ash Bulayev, Myrto Katsimicha, Nefeli Myrodia)
Mural Arts Philadelphia (James Hough)
The conversation will take place in English.
Art et accessibilité:
Nous nous interrogerons sur la manière dont les artistes bénéficient d'une résidence et ce qui fait un bon programme de résidence en tenant compte des deux aspects suivants:
Comment peut-on concevoir des programmes plus accessibles pour les artistes migrants, artistes avec jeunes enfants, artistes anciens détenus ?
Comment offrir aux artistes des espaces de recherche et d'ennui sans être constamment “pourchassés” d'une production cumulative?
Art and accessibility
We will question how artists benefit from a residency and what makes a good residency program considering the following two aspects:
A.How can we conceive programs that give more accessibility to artists migrants, artists with young children and artists ex-convicts?
B. How to offer artists spaces for research and boredom without being constantly "chased" by cumulative production?
Women’s visual and material voice making in the public sphere
moderated by : Dr. Melanie Levick-Parkin & Eirini Linardaki
with : Prof. Dr. Em. Uta Brandes, Co-founder of the international Gender Design Network/iGDN, Elizabeth Reznick, Professor Emerita MASSART, Eleni Riga, Curator, Stefania Strouza, Visual Artist, Stella Malliaraki, Museum Educator, Dorota Walentynowicz, Visual Artist
& the team of Occupy #2
With the support of Institut Français de Grèce.
For women to speak in public has always been a difficult undertaking. To be actually heard is in so many instances still beyond our reach even as we stand at the cusp of the year 2021. In her ‘Women & Power’ manifesto, the Cambridge Classics Scholar Mary Beard (2017) highlights that for the past 3000 years attempts of women to have a voice in public has often been violently opposed and that the Classics are littered with moral examples of how women who dared to speak in public have been brought to heel. These are the very foundations of western culture and philosophy and Beard points out that those foundational values still act upon us, - often unconsciously, hidden and opaque, but also often, loud, clear and violent.
‘Up until now the form-giving subject has always been male. And this structure has, unbeknownst to itself, clearly given form to culture, and to the history of ideas. They are not neuter’. (Luce Irigaray 2002, p.3)
Agency and voice are not just what is spoken or printed, - it is power materialised in the physical fabric of the cities and environments in which we live as well as through the systems that govern us and our production. It is material and it is visual and it has physical consequences. How much agency do we as women have, here and now, when it comes to form giving and meaning making activities in the public realm? Some things have improved for some, some things have never changed for many, and some things have been actively getting worse again in recent years.
With all these things in mind we invite you to this roundtable discussion, to share our thoughts on these questions:
How can we best use our creative agency to amplify women’s visual and material voices in the public sphere?
What are the challenges to women’s visual and material voices in the public sphere?
Who has agency in visual and material voices in the public sphere?
How can we best advocate or make space for those lacking agency in visual and material voices in the public sphere?
(Un)occupied: On the entanglement of Occupiers, Collaborators and Care
(In)occupé: Sur l'enchevêtrement des Occupants, Collaborateurs et des Soins
avec Vassilis Salpistis, Marie Voignier
Our project argues for collaborative authorship and art activism as a way of thinking and performing social and political crises. Written, imagined and practiced collectively by artists, curators and scholars, OCCUPY#2 unfolds along four interlocking sites: political/national identities, institutions/collectives, aesthetic/ethics and caregiving.
At the same time, the juxtaposition of the real with the artful and the interconnectedness of the artwork to a particular environment/location/country is of primary concern, for OCCUPY#2, and in creating a space where aesthetic politics and ethics could be performed. As Lefevre proposed, in actuality, “ideal” space, that has to do with ‘mental (mathematico-logical) categories and “real” space, and the space of social practice are not separate, on the contrary each of these two kinds of space involves, underpins and presupposes the other’ (Lefevre 1991:14).
Can we occupy an institutional space and overcome the various hierarchies? As Frantz Fanon wrote in his book A Dying Colonialism, there is ‘no occupation of territory on the one hand and independence of persons on the other. It is the country as a whole, its history, its daily pulsation that are contested, disfigured, in the hope of a final destruction. Under these conditions, the individual's breathing is an observed, an occupied breathing. It is a combat breathing.’
Our “occupied breathing” and aesthetic “gathering” registers a different kind of conscious, intersubjective occupying that allows for a “collective imaginary occupation” and for a collective processing of perceptions associated with socio-aesthetics. Mobilizing a choreo-social analytic in the public space of the French Embassy to examine techniques of identity making whether national, personal/psychological or political. Aiming to mobilize an “affective response” both from the participants and viewers.
This shared practice, as a collaborative process of spatial (occupying space) transformation, can be seen as a form of ‘commoning’ our means of knowledge production. ‘Commoning’ as response to neoliberal capitalism’s effort to control different forms of life and knowledge, as refusal to see oneself separate from others: ‘if “commoning” has any meaning, it must be the production of ourselves as a common subject’ (Federici, 2012: 145). How do we choreograph commoning? The function and notion of “leveraging this commoning and collectivity” in the face of (power formations) hierarchies becomes a central theme of this initiative. The non-hierarchical and democratic might describe our process and our shared collaborative labor.
Thus, the performance of interdependent care at OCCUPY#2 aims to explore and unravel political sensibilities. The caring subject is attuned to the bodies of others and as Maurice Hamington argues, ‘this does not suggest that caregivers are artists […] but it does suggest that caregivers are artists in terms of being aesthetically attuned to the bodies, actions, and relations of themselves to others’ ( 2015:279).
Our performance of “care” in a public institution like the French Embassy aims to capture the active perceptual engagement of the viewer and also generates an explicit awareness of this activity. Maaike Bleeker introduces the term ‘seer’ for ‘spectator’ in order to denote the activity of the former and the passivity of the latter. Thus, the ‘seers’ are not reduced to a state of unquestioning awareness or a wholly passive relation to the object as a detached subject. Interaction, engagement and response are required for a novel understanding of the notion of occupying. We look forward to your participation!
L’artiste: entre chaman et ouvrier (the artist: between chaman and laborer)
Thème introduit par Angeliki Poulou et Manolis Manousakis
Ça pourrait être créé sous le format d’une œuvre radiophonique. Medea Electronique pourrait s’en occuper.
La discussion aspire à explorer le statut d’artiste d’aujourd’hui à travers l’économie politique d’art, l’anthropologie et la philologie d’art. Quel est le rôle de l'œuvre d’art et de ses créateurs/créatrices?
Pourquoi parle-t-on des projets? Existent-elles les avant-gardes artistiques? Comment s'approprier le “politique” dans l’art et de quelle façon occuper une autonomie et prospérité pour les artistes? Quelle relation à développer avec les institutions? Comment habiter le monde?” - Athina
Cette rencontre virtuelle essaiera de tracer les enjeux et les perspectives potentielles.
The discussion aspires to explore today's artist status through the political economy of art, anthropology, and art philology. What is the role of the work of art and its creators?
Why are we talking about projects? Are there artistic avant-gardes? How to appropriate the "political" in art and how to achieve autonomy and prosperity for artists? What relationship to develop with the institutions? How to inhabit the world? ”
This virtual meeting will try to trace the issues and the potential perspectives.
Être désorienté. (draw a map & get lost. Yoko O.)
discussions à venir :
Borders “after the future” with Christian Oxenius (guests TBO)
Festival du cinéma de Douarnenez