On Tuesday 30/10 at TETTIX Gallery (3, Dialeti str, Thessaloniki), from 18.30 to 19.00 performance will be held by Georgia Grigoriadou, at the exhibition "Emotional Clothing", which is included in the events "Aspects of Balkan Photography - New route in times of crisis" organized by Photography Center of Thessaloniki. The artist will complete with crochet one more doll dress in front of the public and she will hang it on the wall next to the other dresses, as part of her installation.
Saturday 13/10, 20.30' "Emotional Clothing"
Opening of a group photography exhibition at TETTIX Gallery
Participants are: Senay Ozturk (Bulgaria/Turkey), Thanassis Raptis (Greece), Margareta Kern (Bosnia & Herzegovina/UK), Irina Pidova (Bulgaria), Marina Provatidou (Greece), Georgia Grigoriadou (Greece).
Curator: Thanassis Raptis
...in the frame of the manifestation under the title: "Aspects of Balkan Photography. New route in the time of crisis", that Photography Center of Thessaloniki organizes as its participation in the Celebration for the 100 years from the Liberation of Thessaloniki. This manifestation is supported by the Greek Ministry of Civilization and the Municipality of Thessaloniki
Are the clothes we wear the fashion? If we take the real meaning of the word (which is coming from the latin word 'modus', meaning 'way'), of course it is, as fashion in fact is the smart ability of a person to take care of his image, by the clothes he wears.
The familiar and casual wearings become the way to learn various aspects of reality. The clothe, a kind of applied art, but also an industrial product, a commercial product, but also a characteristic of the identity, personal choice or social order, reveals aspects of economy, technology, social organization, aesthetics, even psychology of people.
The research of the relationship between the clothe, the memory and the photography, lead us, while remaking all the works, that have been chosen to make this exhibition, to the sweet paths leading directly to our roots and finally to the liberating clearing of possible autognosy. The photographed clothes -and more the appearance of themselves in the exhibition like extraordinary sculptures- are used as a potential double tank of the memory, bring again forcefully in mind the absent body at the duration of the time.
Provatidou explores the wedding dress and the repressed feeling “Will I ever gonna dress like a bride?” as a memory catalyst.
Kern chooses to take pictures -specially in the heart of Balkans- of alternative rituals of the passage from a phase to another, like the graduation ball for a teenager, who tries to renounce without success her identity, just wearing a bad replica of a celebrity's dress and the meticulous preparation of an old woman for the clothes that she has arranged to wear to her last trip as well.
Raptis chooses a very personal and secure way to transfer his emotion to the viewer, exhibiting strictly personal, familial heirlooms. Öztürk publicizes the well hidden personas of “weird” creatures of the night, who don't hesitate to reveal in the dark the weapons that hide painstakingly under the sun light: a maxed out way of dressing, an extreme haircut/hairstyle, a very personal habit. Grigoriadou depicts the past, remakes the memory, participating herself physically. Knitting obsessively with the little crook “useless” little clothes for dolls, the only thing she achieve is to pay homage to her loving grandmother, who passed away. Pidova explores by the seasons of the year the emotions that generate the “rest” of the hung, non-used clothe, when it stays free from the weight of the human body. Thanassis Raptis - Photographer - Curator of the exhibition
“Hanging as a lack of gravity - when there is nothing to hold you on the ground, the separation from it somewhere above, somewhere beyond. To hang clothes, memories and seasons on a hanger and let them freely waving in the wind, go out of the frame and get back to it, because the snowdrops already are blooming. Starting the spring cleanings of Soul, worship the removal of winter clothing, the invasion of oxygen - time to breathe, time to sweep the snow away. Later in the summer - hanging again - dresses leave bodies, the eternal cycle of changing and redressing, the long hours in the bathroom, the short drying time. Nudity is just cause for flirting, time to rest for the bodies before the invasion of autumn. Again returning to sadness, nostalgia and the places where we were, where we will never be. Clothes and people already have their scars, quince fall into dry grass - brown garden of loneliness, where we ramble, where we return every fall. But there comes the white - paper cranes head South, the clothes are the last refuge of people, and so day after day, until the next spring.”
Irina Pidova (Bulgaria) was born on 1982. She studied Geodesy, Cartography and Photogrametry at the University of Architecture, Civil Engineering and Geodesy in Sofia. Now she is practicing as a land surveyor. Her obsession with photography started couple of years ago, when she decided to buy her first film camera. Nowadays photography for Irina is simply a hobby and a relaxation from the long tiring working days. Still she is making film photography – finding it sufficiently romantic, surprising and funny. She always keeps near her old friend - the film camera Kiev 6C.
Irina’s first performance was in June 2012 in Sofia within the “Month of Photography” days, where she participated with her portfolio called “Hanging Stories”. www.irinapidova.blogspot.com
Creatures of the night
Some mysterious creatures, people… They disappear in daytime, in crowds, they can not take a place in that wild life, they wait for the time. These creatures are heroes of the night. Τhey have to pretend to be another person, they have to hide, hide their weapons, hide their souls. But in the night, they are like angels in their shiny clothes. They do not have their masks, personas.The heroes, who we admire… "Isn’t everything keep traces of the night that fascinate us."* They just can breathe, exist in the night. We can not bump into them anywhere or anytime. "Night crosses the day. The humanbeing, reaches the highest point in the context of self-understanding by means of the world. This is the unconscious world, the self-regarding and discover things never see under the light during in daytime. At night, with the awareness of the unconscious, through the perceived combines the daytime makes it possible to own, much more-dimensional reality.’’**
The places that we went through quickly are these heroes’s worlds; streets, bars, parks, stations, holes, highs, faraways. Wight who we saw indistinctly, disappears until we understand are they real or not. Dream or not. If we are lucky, we could remember the details. Mostly we remember because they shine like stars. It is impossible to forget that! They make us wakeful. ‘’We live in the dreamland in the night.’’*** Having dream even we are awake.
** *** Geza von Molnar: Romantic Vision, Ethical Context: Novalis and Artistic Autonomy. University of Minnesota Press, Minneapolis 1987.
Senay Oztürk (Bulgaria/Turkey) was born in Bulgaria on 1987.
She graduated of Aydın Dogan Communication High School, Journalism (2006) and Mimar Sinan Fine Arts University, Department of Photography (BFA – 2011).
She has worked as a reporter and photographer for some publications like Hurriyet, Milliyet, Radikal, Istanbul Life and has been studying MFA in Mimar Sinan Fine Arts University, Department of Photography.
Oztürk has exhibited her work in Turkey and also in Europe.
She is still working and living in Istanbul.
I exhibit real clothing as if they are sculptures, as a carrier of memory which except for two dimensional aspect, conducts three dimensions, touch, smell and why not sound. Beside the integral, real sized portraits of my family members.
A t-shirt same as that my father- who has already passed away, 10 years now - used to wear in '70s, in the pottery he was working at. A t-shirt that was sweated by myself and left under the sun a whole summer.
My mother's black slip, which has gone astray but salvaged until today, the witness of adult life counting more than 50 years old.
The wool, on loom entwined nappy of my sister, witnesses also her more than 50 years of living.
Last but not least, my wool singlet, overwhelmed by memories of itching on my childish body.
Therefor, exhibiting in public our most intimate clothing, that had the most intimate contact with our bodies, I attempt myself to commune in a truth which day by day fades in the meantime of our acknowledgment that our memories are always embellished. I attempt to dive in self-acknowledgment through my emotional state. An emotional state of mind which is common to all the human beings.
Thanassis Raptis (Greece) was born in 1962, has studied the Law and livesand works in Thessaloniki.
For the last eighteen years has organised ten photography exhibitions of his own and also has been participant of more than eighty group exhibitions all over the world.
He has been responsible for the curating of many photo exhibitions, some of them in the frame of Photobiennale, organized by Photography Museum of Thessaloniki.
He has also organized many photography happenings in the street, with ecological, political and social content.
Transparancies from his photos were used as scenery to modern dance performances.
Many of his writings, translations from Spanish in Greek and photographs have been published in books, magazines and catalogues. He is writing articles about contemporary art in magazines of Thessaloniki.
He is founding member of Photography Center of Thessaloniki and participates in its art committee.
"Clothing is not seen as simply reflecting given aspects of the self but, through its particular material propensities, is co-constutive of facets such as identity, sexuality and social role."
Graduation Dresses' is an ongoing project consisting of a series of photographs I take of young women, in Banja Luka (Bosnia & Herzegovina), who have completed recently their high school education. All of them have had a dress made by my mother (for their graduation ball), and nearly all the dresses are based on an image of a celebrity or a model wearing a famous designer dress.
I photograph them in their homes and through this engagement with their personal and intimate spaces capture that transitional journey from adolescence to womanhood, revealing both their maturity and vulnerability.
Being the same age when I left Bosnia as the graduate girls I photograph, I am drawn to document that point in their lives. The move to Britain for me happened quite abruptly with a backdrop of the civil war hence my generation is the only one not to have had the graduation ball. Perhaps it is this 'loss' that makes me curious as to how these young women's identities are shaped, and what are their hopes and fears in the face of the future, which seems so unstable in the current political and economic climate (but, then isn't the future always unstable?). All of the graduate girls I have photographed were born in the late eighties and were children when the civil war started in what was Yugoslavia. That meant that they grew up during the war and their adolescent years have been shaped by the equally transitional and unstable post-war period....”
Margareta Kern's practice engages with the social and political sphere through multi-layered and inter-disciplinary projects. Kern is interested in the relationship of performance, narrative and participation to documentary and experimental image making, as well as in the relationship of art and activism. Using diverse methods and modes of visual mapping, Kern points to often overlooked yet formative aspects of everyday life, enabling new perspectives and narratives to emerge.
Informed by contemporary ethnography, Kern's work to date has engaged with intimate spaces and narratives, and with questions around visibility, power and representation.
A graduate of Goldsmiths College (BA Fine Art, 1998) and University College London (MA Visual and Material Culture/South East European Studies, 2010), her work has been shown extensively including Impressions Gallery , Tate Modern, The Museum of Contemporary Art Budapest and many others.
Many books, reviews and articles has been written for her work. She has earned residencies and awards through out Europe.
Kern lives and works in London.
Clothes for Death
"Death cannot wait for the clothes, it's the clothes that should wait for death." Kaja (Tuzla, Bosnia & Herzegovina), 2006
Clothes for Death/Odjeca za Smrt is a research based visual art project documenting women in Croatia and Bosnia & Herzegovina who prepare clothes in which they wish to be buried. The resulting works, photographs and video interviews, deeply engage with the lives of the women photographed, reflecting on their complex identites and spaces, shaped by multi-faceted historical, social and cultural currents*.
"Susan Sontag describes photography as 'an elegiac art... touched with pathos.' Kern's photographs have a melancholic air about them, so to ask how absence is inscribed within Clothes for Death may seem absurd. It's there of course in the display of carefully selected clothes worn only in death; the Christian iconography that adorns so many rooms; the unstinting gaze that pierces each image. But it also lurks in the very organisation of pictorial space: the sparse whitewashed walls that corner the diminutive figure of Rosa; the materiality of their uneven surfaces and small soft shadow cast upon them; the open wooden chest emptied of burial clothes; and similar effects across the series - an empty cardboard box; the 'vacant' bed that Liza faces, as if at a wake; stretches of windowless walls, the occasional window, blinded with light, like a blank canvas. Yet death is constantly interrupted by the detail of life, in all its ordinariness: a blue mug, a bedside light, a carton of juice. Death and life in uncanny relation." Pennina Barnett
I wonder how I am going to be when I grow old. I want to be a child forever. Will I have the strength to run and to play out in the fields, to visit art galleries? Who forbids me to do both? Art has no boundaries, it can not be enclosed within the limits of a room.
The big love of my life is my grandma. Whenever I 'm with her, we don' t do much thinking. Everything turns into art.
She was born on 1929 in Novorosisk. Her father was a painter, born in Trapezounta.
I inherited my grandfather' s talent and became an artiist. He was painting landscapes on old canvas, scenes from hunting, landscapes of Pontos.
After migrating from Pontos, they arrived at Novorosisk, Russia. They lived there for ten years and arrived in Thessaloniki at the outbrake of world war II.
My grandmother had always dreamt to dress herself as a bride, as when she followed my grandfather they wore rugs. Those were their migration clothes.
The photographer that took their picture, used a photomontage technique on their joint photograph. He cut their heads and pasted them on other bodies.
This way, they seemed as if they had been dressed as bride and groom. But in reality, it was not them. Those were the bodiies of strangers.
Whenever I bumped on these pictures I thought they were funny. I always wanted to comment on them.
One day , I bought a wedding dress from Monastiraki flea market and took it back to the village. She wore it and run to the fields.
We invited her women friends to take pride on her. That day, they remarried in the fields with my grandfather.
This way I managed to make my granmother's dream to be bride come true. It was something she had longed for years.
Marina Provatidou (Greece) was born on 1978 in Thessaloniki, Greece.
She studied at the Athens School of Fine Arts - ASFA (2003-8), painting with Panos Charalambous and Zacharias Arvanitis and engraving under Vicky Tsalamata.
She received the Erasmous Scholarship to study at Universitad de Barcelona, Spain (2005).
Provatidou has taken part in many group exhibitions in Greece and abroad and has been awarded for her work
It was Christmas Eve when my mother returning from her mother's house with a metal box in her hands, she said me: “The grandmother sends you this box for your collection". A few months later she died... Since then, every time I catch her needles in my hands I recall her with nostalgia.... I remember the endless hours she was knitting laces, measuring hundreds of meter and telling us stories from "patrida" as it was used to call the region in Turkey where her family lived for hundreds of years....
Longing for a life not lived, but only heard from her mother and older brothers to tell when the poverty and hardships, including war, made them nostalgia the "homeland - patrida", the lands and houses had been lost, the lose of fortunes and the families where scattered in the way to new country: Greece.
It's been more that 4 years since her death and her box, needles and hooks, constitute an integral part of my artistic creations....
Not to emulate her (because this is impossible) but to honor her!
To thank her for all I have learned, on what she had taught me!
Because deep inside, I am a part of her, and she is a part of my life....
Because I miss her....
Georgia Grigoriadou (Greece) was born in 1975.
She graduated Business Administration while studding stained glass and puppets making by pappies masse.
Since 2005 she attends the print making center "HELIOS" on Neapoli, Thessaloniki, Greece.
She had taught stained glass and participate in several group shows and an individual.
She created the puppets-show group "Fourfouri" in Serres and acting for two years.
The last years she is involved in printing, digital art and installations.
She has participate in many group exhibitions such as in Greece, Holland, Bangladesh, Brazil, Denmark, Egypt, Serbia, Colombia, Hungary, Japan, Italy, Ireland, Mexico, Nepal, Panama, Poland, Portugal, Romania, France, Argentina.