2008, Athens, Greece

Transleat Me

Press Release

International exhibition of contemporary art / Platform Translation

Independent Exhibition Venue: 48-50 Aiolou str., 4th & 5th floors, Athens

14 Nov – 14 Dec


Curator
Zoi Pappa

Guest curator
Natalia Arcos

Participating artists:
Dimitris Ameladiotis, Marwa Arsanios, Elena Bellantoni, Adonis Volanakis, Mihalis Theodosiadis, Carolina Hoehman, Irini Karayannopoulou, Harris Kondosphyris, Manos Kornelakis, Anna Lagiou Tsouloufi, Joaquín Ortúzar, Zoi Pappa, Francisco Papas Fritas, Tom Robinson, Nana Sahini, The Erasers, Soledad Pinto, Francisca Sanchez


—-
In March 2001 in Germany, Armin Meiwes posted an Internet ad asking for “a well built 18 to 30 year old to be slaughtered and consumed”. The ad was answered by Bernd Jürgen Brandes. After killing and eating Brandes, Meiwes was convicted of manslaughter and later, murder.
The contemporary art exhibition Transleat me takes the concept of translation to a physical level. It is not only our words that can become misinterpreted in translations—our ideas and personalities can be distorted in the process where the translator wields a crushing power. The expression to eat someone else alive suggests a desire of absolute power over someone else.
Transleat me aims to create a space for us to see how we may present ourselves in an atmosphere of infinite misunderstanding. Based on the idea of Translation as a device of manipulation and power, Transleat me explores the notions of self-destruction, unconditional surrender, and cannibalism.
Among “modern” human beings, “cannibalistic” social behavior has been practiced between inefficient/vulnerable and charismatic translators. In this game, antisocial forces that manifest as profiteering and voracity are to a high degree responsible for the lack of sense we all experience. In the world of hyper-information we are incapacitated when it comes to defining where the truth begins and where the lie ends, while the universal power structure forces media and translators to serve its systemic purpose to control the masses. The failure that is an inherent risk in processes of translation can constitute a form of castration of the individual that renders him/her incapable of getting satisfaction, understanding and acceptance.

18 artists from different cultural backgrounds will be exhibiting their work. Each artist takes on the challenge in Transleat me in their own individual manner: they comment, sneer and smirk, attack- give in- negotiate, are consumed- digest- vomit- refuse to swallow, threaten, humor and consistently rechew the cuds of presumed truth in their strive for fair interpretation.
The variety of artistic media includes sculpture, painting, video, performance, photography and installations, along with the artists’ diverse ideological approaches offer a finger-on-the-pulse view of the contemporary scene.

 

Transleat me is part of Platform Translation.
“Platform Translation” is a travelling project involving artists from South America, Europe, and the Middle East. Its main purpose is to explore the concept of translation through artistic practices and critical discourse. The project includes exhibitions in five cities: Athens (November, 2008), Santiago de Chile (May, 2009), and Rome, Beirut, and Berlin during 2009.
In every country a local curator is invited to develop a reading of the concept from the point of view of his/her particular cultural context; he/she takes on the responsibility to invite local artists to participate in the show. Each curator will make an intervention in the preceding and following exhibition. In Transleat me we will host the intervention of the curator of the exhibition in Chile Natalia Arcos with the artists Francisco Papas Fritas and Joaquín Ortúzar. In May 2009, the intervention of Athens will follow at the ‘Centro de Extensión de la Pontificia Universidad Católica de Chile’, in Santiago of Chile with participating artists Michalis Theodosiadis and Zoi Pappa and in Beirut of Lebanon.

Platiform Translation’s core group
Marwa Arsanios, Elena Bellantoni, Mihalis Theodosiadis , Soledad Pinto


Transleat me is a non profit exhibition
Info: zoipappa@yahoo.com / 6938490897
http://transleatme.wordpress.com/

With the (kind) support: DRAGONAS GROUP, NEA KTIMATIKI S.A., D.ART
Press Sponsorship: OZON
The Chilliian intervention has been sponsored by the “FONDART 2008, del Consejo Nacional de la Cultura y las Artes.”

 

 

Work


Dimitris Ameladiotis

“Untitled”

The pieces of work shown in this project don’t serve only the aim of one simple reproduction of the exhibition’s theme or one direct answer to this. But, I am interested more in one more intuitional approach to this theme by posing some question without being sure for satisfied answers. I wonder how our senses (functional or unfuctional) play an important role in our contemporary communication when one great part of this happens via digital media. Which is the content and the purpose of the senses in the communication today? How important is the original, physical human energy in the digital media when it ”behaves” as motivation of social expression or creation?

 

Dimitris Ameladiotis

Dimitris Ameladiotis

Dimitris Ameladiotis

 

 

Marwa Arsanios

“I’ve Heard Stories”

The artwork that I am presenting in the exhibition Transleat me in Athens is part of a series of collaborations with different artists and collectives through out the touring of the project. I recuperated more than a 100kg of curtains from a hotel in Beirut, that will first of all be handed to an artist in Athens in order for her to transform them and intervene on them. In this first destination of the project platform translation I will be collaborating with the artist, Anna Lagiou-Tsouloufi. Her intervention will then be sent to an artist living in Chile (second destination of the project) that in her turn will send them to an artist living in Rome. Each of the artists will have the freedom to transform the curtains with a total respect of the previous intervention. This will bring forward a certain negotiation between them. The medium and the form of the artwork will be chosen in collaboration with the receiving artist. My very intention to get closer to a certain epoch by recuperating a material trace from it, is disrupted by the choice of handing in the curtains to an artist that has no direct emotional link to the history of the place. Is it a way of distanciating myself from a certain image? A conscious surrender that will help me break an image? It is precisely in the process of “conscious surrender” where I question and put into play the idea of a power relation between “eaten” and “eating”, between dominant and dominated between victim and victimizer, the definition of these terms and what they represent.

 

Marwa Arsanios

Marwa Arsanios

Marwa Arsanios

Marwa Arsanios

 

 

Elena Bellantoni

“Fil Rouge”

Fil Rouge is a street performance, that attempts to devour the city by using a common thread with two different colours red and blue. To me the city becomes the central character to understand the meaning of the space in our contemporary society. On the one hand, human beings can be conceived of as artificial structures: humanity is architecturalized. On the other hand, it is possible to think about buildings as bodies: architectures become humanized. The city is born, grows, conceives, reproduces and dies; it has sex, as suggested by the idea of the city
reaching a climax. The city is also a specifically textual body. Indeed, it is a network of narratives that we ourselves weave as we move trough it. Fil Rouge develops this idea of the city as a body, the blue and the read somehow are
the veins of this big body. I’ll try to connect spaces creating a kind of visual trail into the city: I eat the body of the city using my body, my action. Fil Rouge has an impact on the urban landscape, some points of the streets become a big package such as traffic lights, trees, road signs etc.. My point is to create a kind of visual and fiscal tension into the city.

 

Elena Bellantoni

Elena Bellantoni

Elena Bellantoni

Elena Bellantoni

 

 

Adonis Volanakis

“Solomon Ate My Brain”

According to Solomon’s proverbs “the lips of a strange woman drop as an honeycomb: But her end is sharp as a twoedged sword” but in his songs he throws a orgy feast: “I have come into my garden, my bride; I have eaten my honeycomb: Eat friends; O lovers”. Cutting vertical a wedding dress with scissors, as a device for rite of passage,
indicates a marginal non-place of whore identity that shifts to legal wife status or the inverse proportion? Lauren Blair and David Blair from Tennessee, married each other for the 83rd time in 2004. The apparent paradox of the infinite back and forth inclines to psychoanalytic transference of manipulative hunger for each other. Mobility of conjugality works as transposition to translate the boundless honey that spreads out everywhere.

 

Adonis' dress detail 2

Adonis Volanakis

Adonis' dress window behind

 

 


Mihalis Theodosiadis

“Dr Tragedy”

The sound installation “Dr Tragedy” is the informal preparation-induction of the subject in the way to productivity as well as consumption. It is a sound mask of control which operates in frequencies that affect the subject subliminally. It is a machine made to cause horror and disgust at the beginning and then induces the people in a mechanical will for production assuaging their violent instincts by leading to pleasure that is offered by consumption. Dr Tragedy says: forget you read that text, burn it together with any memory you have retained from it.

 

Michail Theodosiadis

Michail Theodosiadis

Michail Theodosiadis

Mihail Theodosiadis

 

 


Carolina Hoehman

“Migratory Cartography”

Immigration is seen as a global phenomenon, where economic, social, and political issues are related. Coexistence, difference, the crush of habits, rhythms of life, and the production of communication and understanding, emerge in the construction of common spaces. Political problems as the rights of immigrants in contrast to the rights of the receiver have their place in the power game. Personally, I believe that the existence of segregated groups inside a different community makes the world and humanity become wilder. In those groups, the individual desire becomes stronger than what the media and mass consumption gives to us. In that sense, the struggle for surviving and coexisting justify the use of implacable power, crushing and overriding the other. My artwork wants to bring out the tension present in migration issues through the methodology used to construct the work. This methodology is defined by combining configurable concepts and visual orders in an aesthetic balance. What is finally produced constitutes a makeup: migratory data becomes a markable and aesthetic in the work. It is a counterpoint that is captive, and, in some case, can also be devoured.

 

Carola Hoheman

Carola Hoehman


Carola Hoehman

 

 


Irini Karayannopoulou

“Untitled”

Irini is painting Snowhite and her dwarfs. Snowhite with a few dwarfs, with an army of dwarfs and then with swarms of dwarfs, a mass of dwarfs without faces or facial characteristics without nothing except the fundamental thing that they ignore; that they are always the one with the other. It does nt matter what they are doing each time. What matters is how they smashed their idole and they became dwarfs from giants. That they made others dwarfs from giants. That each time a giant becomes a dwarf, a whole world collapses. That then, the entire world is standing there, small, wearing a stupid smile and a terrible cap. And that in this way everyone s entire world, everyone, becomes a darkness where noone believes in beautiful giants or in a beautiful gigantic world anymore. And that in this way we forget how to become giants again. And that in this way, we become cannibals.

Georgia Giannakopoulou

 

Irini Karayannopoulou

Irini Karayannopoulou

 

 


Harris Kondosphyris

“Untitled”

Boiled horse meatballs with horseradish:
Make mincemeat by a piece of horse and squash it with horseradish, dollops of tapioca, parsley, salt. Add the horse meatballs into the boiled water along with cucumber, courgette and a handful of tapioca’s dollops.
Avgolemono (Egg Lemon) sauce without eggs:
If you want to have Egg Lemon sauce in the soup, first boil the entire courgette with the meatballs. Then put the boiled courgette into a blender and whisk with salt, lemon, olive oil and fresh ginger. When the mixture thickens enough, pour it in the soup.
Boiled brains of small mammal with mustard:
We boil the head of a small mammal (eg goat, ape) with garlic.
Mustard without gluten and vinegar:
Pulp pine seeds, mustard powder, agave syrup, lemon and salt. Slowly add olive oil and whisk the mixture in the blender until it thickens enough. Serve with bread by rye, millet, rice flower, locust bean flower, which has been kneaded with much yeast.

 

Harris

Harris

Harris

 

 


Manos Kornelakis

“H, Meet Your Meat”

This is about disgust and elation, the gut feelings that lead to spewing out (parts of) oneself and digesting to completion the infinitely appetizing transcendent body. “H” can stand for enthalpy (physics/ the amount of energy in a system capable of mechanical work); if perceived as a heroic sublimation of “he”, in Greek, nevertheless, “H” is the feminine article…’85 all that remains after “consuming” the main part of the title of a famous rebetiko song (Fragosyriani) composed in Syros; I am singing my own version in the context of this performance that actually takes place on Syros. It is a syncretic use of the local tradition in a shamanistic type of ritual. The presentation of the performance is a re-interpretation of the event that includes residual materials, (video) images and sound. On another level, “H” stands for Helios (sun) and Heliopolis: certainly, a reference to the mythical phoenix reborn anew from its ashes but also “defeat” (the feminine article in Greek sounds exactly like defeat).

 

Manos Kornelakis

Manos Kornelakis

Manos Kornelakis

Manos Kornelakis

Manos Kornelakis

 


Anna Lagiou Tsouloufi

“Overlay and Display – Mad Anger! Black Cloth (From the Eyes to the Throat and my Belly)”

The main point of my intervention Overlay and Display, in Marwa Arsanios’ work is the idea of recuperating and re-appropriating the removed curtains from Carlton Hotel, and using them both as actual and symbolic limit between private and public space, as well as a modernization artifacts characterizing the two Mediterranean cities. I put them in public view in three different locations around the city of Athens: the textile factory of AIGAION in Phaliro, the Alexandros Iolas Vila located at Agia Paraskeyi, the Tsalavouta field located in the ex industrial area at Peristeri, now novo residential. Although the curtains overlay by their nature, in this case reveal the transforming identity of the three different city areas of Athens where their exhibition spots are, reenacting these three locations, emphasizing their specificities. The sculptural installation Mad Anger! Black Cloth (from the Eyes to the Throat and my Belly), is an abstract work of art exhibited at the indoor space, which accompanies Marwa Arsanios’ animation, about the cruel murder that happened at Carlton hotel. The point to this whole process to connect the idea of cannibalism and eating has been in the tryout to “consume” and re-appropriate a completely new type of material, another body (of work) without the knowledge of its special characteristics. I throughout and consume again and again the material metaphorically by activating a place each time.

 

Ana Lagiou

Ana Lagiou

Ana Lagiou

Ana Lagiou

 


Zoi Pappa

“The Library”

Born Evil. Cannibalism: The last Taboo!, Delicatessen, Divine Hunger: Cannibalism as Cultural System, Eat thy Neighbour, Ethnography of Cannibalism, Exquisite Corpse, Forensic Psychology, From Communion to Cannibalism, Human Cuisine, Hungry for you: From Cannibalism to Seduction, Moby Dick, Night Side of Dickens: Cannibalism, Passion, Necessity (Victorian Life & Literature), Politics. Aristotle, Postmodern Cannibalism, Republic, Plato, Spiritual Cannibalism, Survivor Type, Symposium. Plato,The Anthropology of Cannibalism, The Bones Wizard,The Cannibal within, The Implosion of a Gastrocrat: an Experiment in Autophagy, The Man-Eating Myth: Anthropology & Anthropophagy, The Mouth that begs: Hunger, Cannibalism, and the Politics of Eating in Modern China, The Savage Mouth.

 

Zoi Pappa

Zoi Pappa

Zoi Pappa

Zoi Pappa

Zoi Pappa

 

 


Tom Robinson

“That Lusty Pioneer Blood (Is Tamed Now)”

The video follows a narrative that flits between plastic cowboys on a table top and a figure seated at a table, in a kitchen, manipulating the small figurines. The kitchen window lends a backdrop of labourers on a building site moving and working in the distance with an anonymity reflected in the featureless cowboys and figure whose face is unseen. The video drifts from curious to sinister as the vignette is slowly played out for the camera. The positioning of the camera means that private domestic space and a work site are simultaneously visible, and both are implicated in the play of metaphorical violence that is ultimately transmitted into a public gallery setting.

 

Tom r

Tom r

Tom r

 


Nana Sahini

“Untitled”

“In the beginning was the word
And the word became flesh
And it never healed”
The work is an installation which consists of sculptures and drawings where it is explored the issue of melancholy cannibalism, a concept which pertains to the failure of translating and communicating our inner self. Imaginary beings, are invested with human traits or else suggest human bodies and body sensations. Distorted to a degree of utter strangeness, parts of amputee bodies or with a kind of disability. Like versions of things where everything is volatile and questionable, these imaginary states possess an ambiguous state of being. They occupy a place between desire and
repulsion, innocence and depravity, are imbued with hidden irony and a cheeky mood and struggling to spell out their voice.

 

Nana Sahini

Nana Sahini

Nana Sahini

Nana Sahini

Nana Sahini

 


Soledad Pinto

“Inside Out”

“Inside Out” seeks to represent the possible moment of co-existence of the two sides of the distinction inside/outside at the same time-space (that is the dissolution of the boundary itself). Inspired for what can be perceived as contemporary ruins found in the city (abandoned buildings or in state of demolition, for example), “Inside Out” wants to visually highlight the fact that this kind of spaces configure systems of opening and closing possibilities that both isolate them and make them penetrable, spaces that are capable of juxtaposing in a single real place several spaces (the nearer and the distant, inside and outside), and that are made up from slices in/of time and materiality. Indeed, the passing of the time has left its marks in these ruins devouring their specific features and conferring them an ambiguous character. “Inside Out” expects to call the attention to those micro-processes where the solidness of the boundaries is contested in almost invisible ways, to highlight the contingent and transient nature of the limits that structure our daily experience, where solid frontiers contain porous spaces from where they can be infiltrated.

 

Soledad Pinto

Soledad Pinto

Soledad Pinto

Soledad Pinto

Soledad Pinto

 

 


Francisca Sanchez

“Potencias”

The first version of “Potencias” will be shown in “Transleatme” in Athens. This piece deals with the idea of cannibalism in terms of a metamorphosis process. “Potencias” includes pictures and objects that, combined, create a dynamic system of rhythms and ricochets that give life to a self-referent organism that eats itself to reproduce itself. Its installation is the result of a mixture of pictures, objects, and sculptural models, where these components, through their interaction, recursively generate the same network of processes that produced them. In fact, it is because of this auto-poetic reproductive mechanism, that the piece will grow in every new “Platform Translation” presentation.

 

Francisca Sanchez

Francisca Sanchez

Francisca Sanchez

Francisca Sanchez


Chilean Intervention

Curator: Natalia Arcos Salvo

“Street Hacker 1”

The bunkers (with their respective geography, territory and ecology) are places where the resistant cultural producer can make a destabilizing action more easily.

Critical Art Ensembled:” The electronic resistance, nomad power, and cultural resistance” The section of the project “Platform Translation” that is taken in charge by the Chilean curator Natalia Arcos is called “Street Hacker” and will be developed in three stages. It is focused on the idea of generating a translation from computer concepts related to the intervention of systems (as ‘troyans’, ‘hacker’, and ‘free software’) to the field of action of the visual arts. This translation is a theoretical exercise that pursues to connect the dynamics of Internet hacking to the aesthetic creation. The artworks generated in its context will stand as cultural production of resistance through absorbing strategies belonging to other fields of action. The first stage of this research is an intervention in the exhibition of Platform Translation in Athens “Transleatme”. This intervention is inspired by the Greco-Persian Wars and Scythians’ nomadism, an invincible tribe that based its power in the fact that they didn’t possess a stable territory or city that could be specifically localized, attacked and conquered. These ideas can be connected with what we have called the current nomadic power, conformed by all those aspects of the neoliberal globalized system that goes against the society, and that seem uncomprehensible and unbeatable. From the idea of a non-positive nomadism, two poles of interest emerge: the street that is loaded with a threatening character (mainly, by the media), and the bunker, represented by those working, dwelling and entertainment spaces that are reproduced architectonically in almost all western countries (shopping centres, fast- foods, etc.) In Street Hacker_1, our goal is to symbolically break the collective imaginary about the bunkers as spaces of shelter, and create and reinvent the street with its danger. In formal terms this proposal acquires an explosive character, in the sense that it exceeds the fixed limitations of the exhibition space in order to appropriate other platforms and circulation areas. In this system the visual communication gives priority to outdoor interventions. The Chilean intervention includes two artists: Francisco Papas Fritas working with the concept of THE STREET, and Joaquín Ortúzar (who is also an architect) working with the idea of the BUNKERS. Francisco Papas Fritas will carry out performative actions in the streets of Athens (during one week). They will be linked to the Greek migration law, which says that when sons and daughters of immigrants turn 18 years old, their civil status in the country becomes illegal, even if they were born and grew up in Greece. Joaquín Ortúzar will install an inflatable mobile sculpture in the form of a black arrow (3m height), which will be suspended at 2m from the ground in different points in the city. It will spectacularly point out no- sense spaces in the city, creating big expectations from a distance, which however will be perceived in a different way when the viewers go closer to the pointed sites.

 


Joaquín Ortúzar

Catalogue Transleat me, small pdf version

Catalogue Transleat


Francisco Papas Fritas


Francisco Papas Fritas

Francisco Papas Fritas

Francisco Papas Fritas


 


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