Date: 5–11.2014
Location: Kunsthalle Athena, Athens
Participating artists and contributors: Anastasia Ax, Dean Spunt (No Age), Allan Sekula, Noël Burch, Lindsay Foster, Athens Biennale, locus athens, Frown, Snehta, 3 137, Totál, Socratis Socratous, Kostis Velonis, Laura Lovatel, and Federica Menin.
As part of the parallel events program of the exhibition This Is Not My Beautiful House, Kunsthalle Athena presented Political Speeches, a series of performances, discussions, and screenings that brought together artists, musicians, filmmakers, curators, and independent art initiatives. Through a diverse program of live actions, conversations, and film presentations, the series explored the political dimensions of artistic practice and created a platform for exchange around contemporary art, social realities, and collective experience.
Without a Proper Noun: Binding and Narration was a discussion and workshop by Laura Lovatel and Federica Menin, developed during the artists’ stay in Athens. The audience was invited to assemble pages for a book yet to come, turning bookbinding into a collective act of reflection and exchange.
A discussion with Kostis Velonis and Socratis Socratous focused on sculpture as a means of engaging politics, history, and contemporary social conditions. The conversation addressed their artistic approaches, influences, and material language.
Independent Art Spaces in Athens: Open Discussion and Presentation brought together Athens Biennale, locus athens, Frown, Snehta, 3 137, and Totál. The event examined self-organization, non-profit cultural production, and the challenges of sustaining independent art spaces in Greece.
The screening of The Forgotten Space, Allan Sekula’s final film made in collaboration with Noël Burch, was presented by Lindsay Foster. The evening also included Foster’s Downward Ascension, a short introduction to Sekula’s work, and a discussion with the audience.
Dean Spunt, a member of the noise-rock duo No Age, presented a live action centered on sound, materiality, and decay. By submerging cassette players in paint-filled glass vessels, he transformed sound into a fragile sculptural process.
In Anastasia Ax’s Exile, Second Stage, the installation was transformed through a performance combining action and sound. Using her body, water, ink, and microphones, Ax reshaped the work into a new spatial and sonic form.
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