LOCUS SOLUS

2010-11-20T03:46:00.001-08:00

A-Mazing Villa

2010-10-21T05:09:00.001-07:00

FOR MORE INFO PLEASE VISIT THE COMPANY'S SITE

http://outoftheboxintermedia.org/

Artistic Direction: Sozita Goudouna

Architectural Installation: Constantinos Alivizatos

Locus Solus @ Benaki Museum, 2010

2010-10-20T11:44:00.000-07:00

Artistic Direction: Sozita Goudouna

Architectural Installation: Constantinos Alivizatos
Production: Out of the Box Intermedia http://outoftheboxintermedia.org/

Production Associates: Opus Integrated Communication http://www.opusltd.com/

Interior Spaces Design: Aka Lab Architects http://www.aka-lab.gr

Main Sponsor: Arones Real Estate

Martin Sexton, Diotima teaches Socrates the Ways into Love

photo credits: Ioannis Kalogridis

Alexandros Mistriotis, The View/ La Vue

photo credits: Ioannis Kalogridis

Balint Bolygo, Danton's Head

photo credits: Ioannis Kalogridis

Mat Collishaw, Atlantis Vanitas, photo credits Maria Boucaouri

L.S

2009-05-08T16:44:00.000-07:00

FOR MORE INFORMATION PLEASE VISIT: http://outoftheboxintermedia.org

Locus Solus is a performance based installation project that explores the idea of science in relation to accounts of contemporary and historical utopic imagination. Drawing on the novel Locus Solus (“Solitary or Unique Place” 1914) by Raymond Roussel (1877-1933), a proto-Surrealist text in which a scientist named Martial Canterel fits out luxurious laboratories in a villa near Paris. Each room demonstrates one of the ingenious inventions of his encyclopaedic mind.

Locus Solus is a three year project produced by Out of the Box Intermedia

Research - Development Phase - Production Period: 2009-2011

Out of the Box Intermedia

2009-05-08T16:36:00.000-07:00

Out of the Box Intermedia is a non-profit interdisciplinary arts organization actively committed to the research, development and presentation of location-driven and intermedia projects. The organization aims to promote international exchange of practice and knowledge in the arts (visual and sound art, dance, architecture, theatre), to research on the methods used in theatre and curatorial practices and to investigate points of intersection between the arts and the public sphere by means of interventions, collective actions and educational programmes.

76 Marchmont st

EN wc1n1ag London

157 Skiathou st

GR 11255 Athens

T +00447790642097

F +00442073878869

E outoftheboxintermedia@gmail.com
Artistic Director:

Sozita Goudouna

http://outoftheboxintermedia.org/

The project involves collaboration between artists from ten countries: Russia, USA, Greece, Serbia, UK, Cyprus, Germany, Canada, Argentina and the Slovak Republic.

FOR MORE INFORMATION PLEASE VISIT: http://outoftheboxintermedia.org

Locus Solus Open Rehearsals

2009-05-08T15:51:00.000-07:00

stills by http://cressidakocienski.blogspot.com/ Reflective Cylinders designed by Lina Dima Kinetic Machine designed by Clio Boboti Dancer Melia Kreiling, photo by Caroline Ward Dancers Nefeli Skarmea & Melia Kreiling, photo by Caroline Ward Dancer Melia Kreiling, photo by Caroline Ward Dancer Melia Kreiling, photo by Caroline Ward Dancer Melia Kreiling, photo by Caroline Ward Dancer Melia Kreiling, photo by Caroline Ward

Dancer Melia Kreiling, Performer Anna Elefanti, photo by Caroline Ward Dancers Melia Kreiling, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Performer Anna Elefanti, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancer Nefeli Skarmea, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward

Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancer: Melia Kreiling, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancers Melia Kreiling & Nefeli Skarmea, photo by Caroline Ward Dancer Nefeli Skarmea, photo by Caroline Ward Dancer Nefeli Skarmea, photo by Caroline Ward Dancer Nefeli Skarmea, photo by Caroline Ward Corporeal Mime Julieta Kilgelmann, photo by Caroline Ward Corporeal Mime Julieta Kilgelmann, photo by Caroline Ward Installation by Margarita Bofiliou Dancer Melia Kreiling, photo by Caroline Ward Architect: Lina Dima

Visual Artist: Laci Zajac Anamorphosis Technique by Alexandros Mistriotis

Photos by Alexandros Mistriotis and The Erasers Dancer: Melia Kreiling

Julieta Kilgelmann

Installation by Margarita Bofiliou Scenographer/Artist: Clio Boboti Scenographer Artist: Xristina Penna "Solitude (locus Solus)" by Kostis Velonis

wood, mirror, synthetic fair 38 cm x 101 cm x 35 cm, 2004-09 "Lonesome" by Kostis Velonis wood, acrylic, 215 x 10 x 35 cm, 2004

"Study for the Victory over the Sun" by Kostis Velonis wood, acrylic, plywood, 2009 Anamorphosis by Alexandros Mistriotis Anamorphosis by Alexandros Mistriotis Installation by Zoe Langi, Yorgis Noukakis, Dimitra Stamatiou Floor Sculpture by Laci Zajak Dancers Melia Kreiling, Nefeli Skarmea

Performers: Eszter Jagica, Dejan Garbos Performer Polyxeni Aklidi The Erasers Choreographer Alexandra Waierstall Installation by Zoe Langi, Yorgis Noukakis, Dimitra Stamatiou

Eszter Jagica Julieta Kilgelmann

Article- Vima Newspaper

2009-05-08T09:50:00.000-07:00

locus solus public conversations curatives

2009-05-07T16:18:00.000-07:00

http://www.flickr.com/photos/panos_kouros/sets/72157617992562084/

locus solus public conversations curatives

Conversations curatives (talking cure) is an active role for Canterel. Conversations curatives is a found Locus-solus phrase used here as a critical notion to destabilize locus, solus, and representation. Locus solus public produces a shifting space of proximity between invited actors, social spaces in Elephant &

Castle, and Roussel’s novel Locus-solus. It evolves around walking sessions and writing recensions. The actors perform walking sessions within a conflicting, gentrified area of London (Elephant & Castle). Passing through successive loci, they steal and distill local data (textual findings, discussions with residents, readings in libraries of autonomous spaces, attendance in collective activities) as they intersect with locus-solus fragments and very personal histories. During the walking sessions, wiki-works are undertaken. A conversations_curatives-wiki is a writing/erasing surface (like Freud’s wunderblok) that accumulates (revised) texts and performs them as part of personal uttering programs. Roussel’s narration is here interpreted as a mnemonic construction, a memory theatre: a walk in successive loci (spaces in a garden) where extraordinary events/machines stand out. At the same time, a process of forgetting is at work, based on successive concealments, on transformed signifiers that confuse any groundwork. Roussel’s methods of language construction, and his mnemotechnic obsessions are essential for these wiki recension acts.

Wiki recension works is an open public performance (after 5/5, to be announced) Working team: Panos Kouros with Elena Chronopoulou, NoraDemjaha, Giota Dimitropoulou, Athena Kokla.

In the frame of Locus Solus project at Shunt Vaults, Locus solus public: conversations curatives project will perform field and networks in the city, all day from April 28 to May 1, 2009.

The project is organized by Panos Kouros - Laboratory for Visual Arts, Department of Architecture, University of Patras, under the auspices of Locus Solus Research Project organized by Out of the Box Intermedia Company.

Aylesbury collecting action

The successive pages of Roussel’s books “Locus Solus” and “How I wrote Certain of my Books” were placed in successive garage doors around the interior courtyard of Aylesbury block Gayhurst 1-61, in such a way that the books can be read by walking the perimeter of the courtyard, clockwise. Informal talks with residents were produced during and after the action. The conversations were collected as part of the walking session works, to be used as base material for personal uttering recensions, during Locus solus public: conversations curatives project. conversationscuratives.pbworks.com/

Locus Solus στο Βυζαντινό Μουσείο

2009-03-27T18:19:00.000-07:00

Ενα πρόγραμμα που συνδυάζει τις παραστατικές με τις εικαστικές τέχνες

Του Ματθαιου Τσιμιτακη

Στον περίβολο του Βυζαντινού Μουσείου έχει στηθεί ένας σκοτεινός κύβος πάνω στον οποίο προβάλλονται γεωμετρικές φόρμες. Λίγο πιο κάτω, μια περφόρμερ παίζει με τις εκφράσεις που προβάλλει στο πρόσωπό της ένας προτζέκτορας. Οι θεατές παίρνουν με τη σειρά τον μαρκαδόρο και ζωγραφίζουν πάνω σε ένα λευκό χαρτί. Πιο δίπλα ένας τεχνητός κήπος ενεργοποιεί ένα σύστημα από αλυσίδες κάθε φορά που κάποιος ποτίζει μια γλάστρα θυμίζοντας «αναγεννησιακό μηχανικό κήπο». Και στην απέναντι γωνία μια μικρή κατασκευή τρισδιάστατου θεάτρου σκιών παραπέμπει σε μια ιστοσελίδα, στην οποία γίνονται αναφορές στα ταξίδια του Γάλλου συγγραφέα των αρχών του 20ού αι. Raymond Roussel.
Πρόκειται για τον ενδιάμεσο σταθμό του ευρωπαϊκού καλλιτεχνικού ερευνητικού προγράμματος Locus Solus (τόπος μοναδικός ή μοναχικός) που παίρνει τον τίτλο του από το ομώνυμο φανταστικό μυθιστόρημα του Γάλλου συγγραφέα Raymond Roussel. Το πρόγραμμα, που παίρνει τη μορφή εκθέσεων καθώς εξελίσσεται (είναι τριετές), παρουσιάστηκε το περασμένο Σάββατο στην Αθήνα, ακολουθώντας μια πρώτη έκθεση στο Λονδίνο την άνοιξη που μας πέρασε και προλογίζοντας τρεις ακόμα προγραμματισμένες, σε Μόσχα, Λονδίνο και Αθήνα όπου θα λάβει και την τελική του μορφή το ερχόμενο καλοκαίρι.
Καλλιτέχνες από εννέα χώρες σε συνεργασία με σχολές αρχιτεκτονικής, ερευνητικά ινστιτούτα και μουσεία επιχειρούν μια νέα προσέγγιση στο έργο του πρωτοσουρεαλιστή συγγραφέα Raymond Roussel, ο οποίος έζησε από το 1877 ώς το 1933 στη Γαλλία και επηρέασε τους σουρεαλιστές, ενώ έθεσε τις βάσεις για μια σειρά πειραματισμών που ακολούθησαν σε όλη τη διάρκεια του 20ού αιώνα.
Στο μυθιστόρημα Locus Solus, ένας εξέχων επιστήμονας, ο Martial Canterel, προσκαλεί μια ομάδα συναδέλφων του να επισκεφθούν το πάρκο του εξοχικού του κοντά στο Παρίσι. Εκεί τους εκθέτει τις ιδιοφυείς εφευρέσεις του εντυπωσιακού εγκυκλοπαιδικού του πνεύματος. Μεταξύ άλλων τους παρουσιάζει ένα εργαλείο επισκευής δρόμων, το οποίο ενεργοποιείται από τη βροχή δημιουργώντας μωσαϊκά από ανθρώπινα δόντια. Ενα αχανές ενυδρείο εντός του οποίου μπορούν όμως να αναπνεύσουν, δύο χημικές ουσίες που κάνουν τα ανθρώπινα πτώματα να ζωντανεύουν και να αναπαριστούν τη σημαντικότερη στιγμή της ζωής τους κ. ο. κ.

Φανταστικές αφηγήσεις

Καθώς ξεδιπλώνονται στο μυθιστόρημα όλο και πιο εντυπωσιακά επιτεύγματα, το ίδιο συμβαίνει και με τη γραφή του Ρουσσέλ, μεταφέροντας τον αναγνώστη σε φανταστικές αφηγήσεις. Ο Ρουσσέλ επηρεασμένος από τον Ιούλιο Βερν δημιουργεί μια λαβυρινθώδη αφήγηση με υλικό τη φαντασίωση της επιστήμης της εποχής του, ενώ ταυτόχρονα ερευνά τα όριά της, σπάζοντάς την με αλλεπάλληλες παρενθέσεις και υπερβολές του φανταστικού.
Προσπάθησε ο ίδιος να παρουσιάσει το έργο του σε θεατρικό το 1914 μιας και τόσο η έννοια του χώρου, όσο και της οφθαλμαπάτης ήταν πολύ σημαντικές στο μυθιστόρημά του, όμως αποκόμισε μόνο τη χλεύη της Παρισινής διανόησης, η οποία δεν ήταν έτοιμη να τον συναντήσει.
Χρόνια αργότερα οι μεγαλύτεροι διανοητές του 20ού αιώνα, όπως οι Κοκτό, Μπρετόν, Κενώ, Ντυσάν, Τζακομέτι και ο Μισέλ Φουκό, ο οποίος στήριξε στο έργο του Ρουσσέλ το μοναδικό δοκίμιό του για τη λογοτεχνία «Ο θάνατος κι ο Λαβύρινθος», αποκατέστησαν την «αδικία» κατατάσσοντας το Locus Solus στα σημαντικότερα λογοτεχνικά κείμενα του 20ού αιώνα και τον Ρουσσέλ στους προπάτορες του καλλιτεχνικού πειραματισμού. «O Φουκό βρίσκει στο έργο του Ρουσσέλ έναν ολόκληρο κόσμο, η ενότητα του οποίου στηρίζεται στην έννοια του ορίου ή αλλιώς στη συνθήκη της παρένθεσης», παρατηρεί στον πρόλογο του δοκιμίου του Φουκό ο James Faubion.
Στο Ευρωπαϊκό πρόγραμμα Locus Solus που διοργανώνει η καλλιτεχνική ομάδα out of the box intermedia και η επιμελήτρια Σωζήτα Γκουντούνα, επιχειρείται η καλλιέργεια ενός ερευνητικού διαλόγου ανάμεσα σε αρχιτέκτονες, χορευτές, χορογράφους, ηθοποιούς, σκηνογράφους, ερευνητές, συγγραφείς, δραματουργούς και καλλιτέχνες από τους χώρους των εικαστικών, του ήχου και του βίντεο. «Πάνω στην επαναπροσέγγιση του έργου δημιουργείται ένα πεδίο διά καλλιτεχνικής και διεπιστημονικής έρευνας και στοχασμού σχετικά με τον “ιδανικό” και τον “πραγματικό» χώρο”, εξηγεί η Σωζήτα Γκουντούνα. «Το έργο του είναι πεζό, αλλά έχει γραφτεί και για το θέατρο. Η τεχνική της αφήγησης μέσα στην αφήγηση δίνει τη δυνατότητα διερεύνησης της αναπαράστασης, της αρχιτεκτονικής του χώρου, των ηχοτοπίων και της γλώσσας. Ετσι τα έργα που παρουσιάζονται ανήκουν κατά κύριο λόγο στις υβριδικές τέχνες και χρησιμοποιούν κατά κόρον νέες τεχνολογίες», συνεχίζει η ίδια.
Προκειμένου να προσεγγισθούν ζητήματα, όπως αυτό της οφθαλμαπάτης τον λόγο παίρνουν ασύρματα δίκτυα, τεχνολογίες επαυξημένης πραγματικότητας, τρισδιάστατες προβολές πάνω σε αντικείμενα, ζωντανό σινεμά κ. ά.
«Η μορφή της έκθεσης - εγκατάστασης - δρωμένου μεταλλάσσεται ανάλογα με την έρευνα και τον χώρο στον οποίο φιλοξενείται. Στο τέλος θα παρουσιάζεται μέσα στο μοντέλο ενός πλατωνικού πολύεδρου, εντός του οποίου θα κινούνται οι θεατές», εξηγεί η Σωζήτα Γκουντούνα.
Περισσότερες πληροφορίες: http: //www. outoftheboxintermedia. org/ http: //soluslocus. blogspot. com/

Locus Solus at the Byzantine Museum 2009

2009-03-27T18:17:00.000-07:00

Kathimerini Newspaper http://news.kathimerini.gr/4dcgi/_w_articles_civ_2_15/11/2009_337120

by Mathaios Tsimitakis

In the yard of the Byzantine and Christian Museum, a dark cube is installed on which geometric forms are projected. A little further a female performer toys with the expressions projected on her face by a projector. The spectators take a marker pen and paint on a blank piece of paper. Nearby, an artificial garden activates a system constituted of chains every time someone waters a flower pot, which is reminiscent of a “renaissance mechanical garden”. And on the opposite corner, a small construction of a 3D shadow theatre links to a webpage in which there are references to the journeys of the early 20th century protosurrealist French author, Raymond Roussel.

This is the intermediate destination of the European art project Locus Solus (a unique or solitary place) which borrows its name from Roussel’s homonymous novel. The project, which is a three-year work-in-progress event, was presented in Athens on Saturday 13 March, following its opening exhibition in London which took place last spring. The project is scheduled to also visit Moscow, before it returns first to London and then to Athens, where it will conclude next summer.

Artists from 9 countries in cooperation with schools of architecture, research institutes and museums revisit the work of Raymond Roussel (1877-1933), who was a major influence to the surrealist art and laid the foundation for a wide range of experimentations through the 20th century.

In the novel Locus Solus, a scientist and inventor, Martial Canterel, invites a group of colleagues to visit the park of his country estate near Paris. As the group tours the estate, Canterel shows them the ingenious inventions of his brilliant encyclopaedic mind. They witness, among others, an aerial pile driver which is constructing a mosaic of teeth and an enormous glass cage inside of which dead bodies can be revived with ‘resurrectine,’ a fluid of his invention which if injected into a fresh corpse causes it continually to act out the most important incident of its life.

Fantastic narratives

The ever-increasing achievements unfolded in the novel are at one with Roussel’s style of writing which allows the reader to embark on a journey into fantastic narratives. Roussel, influenced by Jules Vern, utilizes the scientific fantasies of his era to build a labyrinthine narrative, while at the same time he explores the thresholds of this science and crosses them through a series of fantastic parentheses and exaggerations.

The centrality of space and optical illusion in the novel led him to the decision to stage it in 1914, a decision that earned the derision of the Parisian intellectual circles which were not ready to take on the challenge.

Years later, the likes of Cocteau, Breton, Queneau, Duchamp, Giacometti and Michel Foucault, who celebrated Roussel’s work in his text Death and the Labyrinth: The World of Raymond Roussel, rectified the injustice by placing Locus Solus among the most significant literary texts of the century and Roussel among the forefathers of artistic experimentation. In the preface of Foucault’s text, James Fabion writes “Foucault find in Raymond Roussel’s works and days an entire cosmos, whose principle of unity is the principle of the threshold, which is also the principle of the parenthesis.”
The European project Locus Solus organised by the art group Out of the Box Intermedia and the curator Sozita Goudouna aims to promote a research-based dialogue with museums, universities, architects, visual and sound artists, dancers, choreographers, performers, set designers, video artists, researchers, scientists, writers and dramaturges. ‘By revisiting the work the project cuts across art and science, generating research and reflection on “ideal” and “real” space.’ The novel is written in prose, but it has also been intended for the stage. The nested narrative technique of the novel enables the reader to delve into its representational power, its spatial architecture, its soundscapes and its language. The works exhibited thus primarily belong to hybrid arts and make extensive use of new technologies,” she continues.
Wireless networks, augmented reality technologies, 3D projections on objects, live cinema, etc are used to deal with issues such as optical illusions.
“This exhibition-installation-event is research-based and location-driven, and its final form will be presented in a model of a Platonic polyhedron, inside of which the visitors will be moving,” explains Sozita Goudouna.
For more information visit: http: //www. outoftheboxintermedia. org/ http: //soluslocus. blogspot. com/

SOZITA GOUDOUNA | INTERVIEW MARIE CLAIRE 02/2011

2009-02-05T18:22:00.000-08:00

SOZITA GOUDOUNA| MARIE CLAIRE INTERVIEW -VIVIE MORAITOU

ΣΩΖΗΤΑ ΓΚΟΥΝΤΟΥΝΑ ΣΥΝΕΝΤΕΥΞΗ Marie Claire 02/2011

locus solus public: conversations curatives

2008-07-08T16:35:00.000-07:00

locus solus public: conversations curatives

Panos Kouros with researchers from the Department of Architecture, University of Patras, from the London Consortium and the Architectural Association.

Conversations curatives (talking cure) is an active role for Canterel. Conversations curatives is a locus-solus phrase used here as a critical notion to destabilize locus, solus and representation. The project seeks to reframe locus-solus in conflicting environments of the city, using the media of walking, and techniques of collecting, re-writing and recycling data. The actors will perform walking sessions within gentrified areas of London (Elephant & Castle). Passing through successive urban loci, they will filter/transform local data (textual findings, discussions with residents, readings in libraries of autonomous spaces, participation in collective activities) as they intersect with certain locus-solus fragments. A locus-solus-wiki is an open working structure that contains and deforms, in analogy with Raymon Roussels textual and mnemonic architecture. It will be used as an operative manual of "rimes de faits", rhymes for events, creating multiple links between diverse utopias, places, publics.

www.constructing-public-sphere.blogspot.com

www.mnemeden.org

The scientist Cantarel is taking a group of visitors on a tour of Locus Solus, his secluded estate near Paris. One by one he introduces, demonstrates and expounds his discoveries and inventions of his fertile mind: a tool which, when activated by the weather, creates a mosaic of human teeth; a vast aquarium in which a depilated cat is seen stimulating the partially decomposed head of Danton to fresh flights of oratory; a theatre in which corpses are administered specially concocted serums that allow them to recreate the most memorable moments of their past lives. As the inventions become more elaborate, the richness and brilliance of the author's stories grow to match them , and the reader is swept along in a torrent of wonder and hilarity.

Locus Solus meeting

2008-07-08T14:40:00.000-07:00

PHOTOS Panos Kouros http://www.flickr.com/photos/panos_kouros/2989685573/in/dateposted/

Installations

2008-07-08T14:39:00.001-07:00

CANTEREL'S GARDEN

In Canterel's Garden, at the end of a high terrace a gigantic glass bowl makes the wonderful mixture it contains sparkle like a diamond: water in which each particle, due to an inherent luminosity, glitters like mica in the sun. It is an innate fusion of ﬂuidity and brilliance, of the secretive and the illuminating, since from afar it is only perceived in ﬂashes that catch the eye but also avert it, while up close the glance can penetrate it without difﬁculty as though it were endowed with transparency. In this crystal furnace a microcosm of Roussel's inventions can be discovered: human instrumentality, as in Faustine's musical hair; the tamed animal nature of the racing sea horses; the mechanical ressurection of death with Danton's talkative head; scenes that blossom like Japanese ﬂowers; the element of endless survival in the aqua micans, and ﬁnally the image with which all this apparatus symbolizes itself: the golden bubble of Sauternes solidiﬁed into a sun. The forge of the soul is a strange underground cavern that remains open to the sky.

(Death and the Labyrinth, Foucault p70)

FOGAR'S TREE

the molecules that compose its delicate fronds, brilliant and vibratory, are sensitive to such a degree that their organisation and colour reproduce exactly the space they occupy; they can thus register the images of a book itself a record of often recounted legends- and reproduce them endlessly, even projecting them on the ground, so sharp is the picture, so fresh the colours, of this reﬂection of a reﬂection....

Space Plan

2008-07-08T14:39:00.000-07:00

http://hypermedia.univ-paris8.fr/bibliotheque/LOCUS_SOLUS/plan0.htm

Ladislav Zajac's- Ground Sculptures for Locus Solus

2008-07-08T14:38:00.000-07:00

mise-en-abyme

2008-07-08T07:31:00.000-07:00

Mise en abyme is a narratological term denoting a certain part of a literary work of art that represents the work as a whole, a containment of an entity within another identical entity : image of an image.

http://miseenabyme.com/

http://www.gorelets.com/uncanny/tag/mise-en-abyme/

http://uk.youtube.com/watch?v=fuF1C2B3ux4&feature=related

"Mise en abyme" is a concept in art, literally saying "to put something into infinity". It can be found for example in narration, when a story is told within a story, or in visual arts, when an image is placed into itself repetively

(1948) Literary Theory The term originated with French novelist André Gide (1869–1951) and is exemplified in his novel The Counterfeiters (1926). Prominent in POSTSTRUCTURALISM during the 1970s.

‘Placed in the abyss’: the infinite regress of mirrors. In narrative, a story within a story, the internal story mirroring and therefore commenting on the framing story. Also in Deconstruction, the infinite deferral of meanings.

S Rimmon-Kenan, Narrative Fiction: Contemporary Poetics (London, 1983)

Collaborative Group

2008-07-08T07:30:00.000-07:00

Conceived and directed by

Sozita Goudouna is a director and associate editor founder and art director of Out of the Box Intermedia Company. She holds an MA in Directing at the Royal Academy of Dramatic Art (RADA) and the English Department, Kings College University of London (2000), a BA (Hons) in Philosophy and Theatre Studies from London Metropolitan University (1996-9) and is currently completing a PhD at Royal Holloway, University of London, entitled "Mediated Breath: the Intersection of Critical Discourses in the Visual Arts and the Theatre" (2002-8). She is working as associate editor for the academic journal STP Studies in Theatre and Performance and contributing editor for the contemporary literature department of Routledge publishing company and for other academic journals. Sozita’s research interests focus upon interdisciplinarity across the arts and upon the temporality of the represented and the disposition of perception. She has contributed to journals and conferences (Documenta, Kassel-Tate Modern- Venice Biennale- PSi) on subjects like education, theatre and the visual arts. She has also worked as a director, assistant director and art curator in London, in association with The Place London, The Royal Academy of Dramatic Art, the Institute of Contemporary Art, Notting Hill Arts Club and in Athens with art companies, galleries and museums.

CHOREOGRAPHER, DANCE ARTIST:

Alexandra Waierstall

Alexandra Waierstall born in 1979, lives and works in Germany and Cyprus. She is a graduate of the EDDC/DA Arnhem –Düsseldorf in 2002 and a graduate of the Dance Unlimited Arnhem a Master Course for Choreography in 2006. Alexandra Waierstall has won several prizes from the Dance Platform Cyprus and has presented her work in Europe (The Place, The Turning world Festival, Kalamata Dance Festival, Tanzhaus NRW Düsseldorf, Julidans – fresh dance Amsterdam, Aerowaves London, Tanec Praha Prague, Fabricca Europa Italy among others) , Sao Paolo, New York, Beijing, Shanghai and Seoul. Alexandra Waierstall received the ‘Carte Blanche’ Scholarship for research in Vienna through the Dance house Network IDEE in 2006. She is also part of Dancing the Virtual 2006 - 2008, a three year research project in Montreal guided by philosopher Brian Massoumi. In April 2008 she participated in the choreographers symposium Chin-A-Moves in Beijing and presented her choreographic work at the Crossing Festival in Beijing and the Fringe festival in Shanghai in October 2008. In May 2008 she performed her latest solo at the International Improvisation Festival in Seoul, Korea. In September 2008 she represented Germany at the DancEUnion Festival at the Southbank Centre. The Choreographic work of Alexandra Waierstall and her company Noema Dance Works is funded on a production base by the Ministry of Culture Cyprus, the Kunststiftung NRW and the Kulturamt Landeshauptstadt Düsseldorf.

WRITER/ARTIST

Alexandros Mistriotis

Ο Αλέξανδρος Μιστριώτης γεννήθηκε το 1973 στην Οττάβα του Καναδά. Μεγάλωσε στην Αθήνα. Σπούδασε Γαλλία, στην Ανώτερη Σχολή Καλών Τεχνών της Μασσαλίας. Επέστρεψε στην Ελλάδα τον Οκτώβριο του 2004. Aσχολήθηκε για ικανά διαστήματα με την ζωγραφική, την λογοτεχνία, το πειραματικό και μη σινεμά, την φωτογραφία, τις υβριδικές πολυμεσικές γλώσσες.

AUDIOVISUAL INTERACTIVE SYSTEMS

THE ERASERS

are a group whose work is based on the integration of various seemingly diverse elements such as: live cinema/ improvised music/ performance_actions/ the internet/ and installation techniques.These materials, or various forms are incorporated into each of the erasers performances with the goal of creating an overall experience/ a new "open" work, in which the audience can be immersed and yet have the freedom of expression and interpretation.The combination of these diverse elements is based on the erasers search for a new audio-visual language.The erasers are an open circuit : they are as few or as many as each project demands and they all function within the free association that the erasers are.The erasers search for the possibility of presenting their work to an open and unbiased audience has led them to work under various pseudonyms, some of these being: the instructors and the curators.

ARCHITECT

Lina Dima was born and lives in Athens. She is an architect (National Technical University of Athens, 2003) with Post Graduate Specialization Diploma in “Architectural Design - Space – Culture” (N.T.U.A., 2005). She has been working as an architect since 2003 at various Architectural Offices. Her work has been distinguished in architectural competitions and she has participated in architectural exhibitions in Greece. Her research interests focus upon the interface of theory and practice.

ARCHITECT

Zoe Langi

H Ζώη Λάγγη εργάζεται στο Υπουργείο Πολιτισμού στην Διεύθυνση Νεώτερης και Σύγχρονης Αρχιτεκτονικής Κληρονομιάς, είναι ιδρυτικό μέλος της αρχιτεκτονικής ομάδας where_house. Εχει σπουδάσει αρχιτεκτονική στο Α.Π.Θ. Πολυτεχνική Σχολή Τμήμα Αρχιτεκτόνων και στην Ecoles des beaux-arts St-Etienne στο Παρίσι, μεταπτυχιακές σπουδές στην αρχαιολογία στο University College of London Institute of Archaeology. Εχει εργαστει ως Αρχιτέκτων μηχανικός στο Υπουργείο Πολιτισμού στην Διεύθυνση Αναστήλωσης Αρχαίων Μνημείων στο τμήμα Προϊστορικών και ως σκηνογράφος σε παραστάσεις του Φεστιβάλ Χορού Σωματείου Ελλήνων Χορογράφων.

ARTIST

Panos Kouros is an artist and assistant professor for Visual Arts in the Department of Architecture, University of Patras, Greece. Research areas: context-specific art, networking, urban interventions, collective actions, urban mnemotechnics. His projects unfold in different areas linking critical art practices to architecture, urban culture and politics of memory and have been realized in USA, Greece, China, Germany, Mexico and the www. Founding member of Gregorios Pharmakis plural person. Member of Urban Void, urban interventions collective, based in Athens. Ph.D. in Architecture. He was appointed Research Fellow in environmental art and technology at the Center for Advanced Visual Studies (C.A.V.S.), M.I.T., and Lecturer at the Department of Architecture, M.I.T., and Massachusetts College of Art. He has published many studies that examine relations between art, technology, critical theory and contemporary culture.

PRODUCTION ASSOCIATE

Electra Bada is a filmmaker, visual anthropologist, educator and healer. She has studied Media Arts, Anthropology of Art and Documentary in the UK. She has worked as lecturing stuff teaching visual culture, film and anthropology in Scotland (Napier University, Edinburgh University) and Greece (University of Thessaly, Ionian University). She has worked in theatre and film production and her documentaries and video art have participated in International Film Festivals. Her work in the Institute of Child Health is to promote emotional health in Greek schools through creative practices and drama games. Currently, her work with people, performance, dance, video and education seeks to bridge ritual and cross-cultural spirituality with art production.

SET DESIGNER

Christina Penna has been working as a theatre designer/art director in Athens, London, Poland and Mexico. Recently she has been devising work experimenting with the use of video, animation, puppetry and performance, creating environments that mix everyday reality with dream and relate to the uncanny. Since October 2006 Xristina is part of Poemstomyotherself, a collective of visual and theatre artists, with whom she has been exploring the potential of interdisciplinary artistic collaboration and has been producing site sensitive work. Furthermore, she is member of the SBTD (Society of British Theatre Designers). She has been trained as a set/costume designer in the Drama Department of the Aristotle University, School of Fine Arts, Thessaloniki, Greece and has obtained a Master of Arts in Scenography at Central St. Martins College of Art and Design with financial support from the A. Onassis Foundation. For more info on Xristina’s work please visit www.scenography.co.uk/xristina/

SET DESIGNER

Clio Boboti studied for a BA Theatre design for Performance at Central Saint Martins, College, London 2001-2004 and for an MA Scenography στο Central Saint Martins 2004-2005.Σκηνογραφία 2007 Ιανουάριος, “Οι Μικροί Μελαγχολικοί” του Φαμπρίς Μελκιό, σκηνοθεσία Ελένης Μποζά, στο Θέατρο Άλμα. 2005 Νοέμβριος Συμμετοχή στο σχεδιασμό της μόνιμης έκθεσης στο καινούργιο Αρχαιολογικό Μουσείο της Πάτρας, 2005 Μάιος Συμμετοχή στο Act Festival του Bilbao με την παράσταση “Fragments from the death of Ivan”. Παράσταση βασισμένη στο μυθιστόρημα του Lev Nikolayevich Tolstoy “The Death of Ivan Ilych”.2005 Μάρτιος “Fragments from the Death of Ivan” στο θέατρο του Tadeusz Kantor στη Κρακοβία. Ομαδική σκηνοθεσία και σκηνογραφία. Φωτογράφος στις παραστάσεις: 2007 Μάρτιος “Άγριοι- ο άντρας με τα θλιμμένα μάτια” του Χεντλ Κλάους, σκηνοθεσία Έκτορα Λυγίζου, στο Θέατρο Αμόρε.2007 Ιανουάριος “Οι Μικροί Μελαγχολικοί” του Φαμπρίς Μελκιό, σκηνοθεσία Ελένης Μποζά, στο Θέατρο Άλμα. 2006 Οκτώβριος “Μαμ” του Σάκη Σερέφα, σκηνοθεσία Ελένης Μποζά, στο Θέατρο Αμόρε. Βοηθός σκηνοθέτη 2008 Φεβρουάριος “Οι Παίκτες” του Νικολάι Γκόγκολ, σκηνοθεσία Ελένης Μποζά, στο Εθνικό Θέατρο-Πειραματική Σκηνή. 2006 Οκτώβριος “Μαμ” του Σάκη Σερέφα, σκηνοθεσία Ελένης Μποζά, στο Θέατρο Αμόρε.“Ποιος φοβάται τη Βιρτζίνια Γούλφ” του Έντουαρντ Άλμπυ, σκηνοθεσία Ελένης Μποζά, στο Θέατρο Μεταξουργείο. Βοηθός Σκηνογράφου 2003 Μάρτιος “Δον Κιχώτης” του Μιγκέλ ντε Θερβάντες, χορογραφία Igor Zelensky,σκηνογραφία Τότας Πρίτσα. Παραγωγή της Εθνικής Λυρικής Σκηνής στο Ηρώδειο. Βοηθός ενδυματολόγου 2003 Μάρτιος “Σαμσών και Δαλιδά” όπερα του Camille Saint-Saens , σκηνοθεσία Σπύρου Ευαγγελάτου, σκηνογραφία Γιώργου Πάτσα Παραγωγή της Εθνικής Λυρικής Σκηνής στο Ηρώδειο. Βοηθός Παραγωγού 2003 Ιούλιος American Ballet Theatre(A.B.T.) στο Ηρώδειο και στο θέατρο Γης στη Θεσσαλονίκη.

Choreographer: Alexandra Waierstall

2008-07-08T07:28:00.001-07:00

“As a choreographer I wish to create works that reveal and highlight human values, voice personal emotions – affects and beliefs, emphasising a rejuvenation of ethics rooted in the individual….The works are an attempt to intercede between the global western reality of development and prosper that we live in, being ruled by excess, control, uncertain terror and alienation and the transparent presence of being”

Aat Hougee, former founder and director of EDDC Arnhem said:

“As a performer she finds her strength through a content defined by deep and intensive use of energy. When she performs one knows that she is telling you something important, but what it is, remains a secret. Her work contains stories and characters, but there is no simple narrative: the content of her work is able to touch the spectator on a deeper level.”

Alexandra Waierstall

was named by Ballettanz as one of the

Carriers of Hope that also in the future will move the

Dance

Ballettanz Yearbook 2007

'In 2006 I saw a solo piece of Alexandras and I was absolutely flabbergasted by how much she made from so little. It was a solo woman on the stage and the movement was very, very minimal but because of the combination of what Alexandra was creating and the skill of the performer herself, the piece spoke volumes. It had a very strong atmosphere and it really knocked me out.’

Betsy Grogory, Artistic Director of Dance Umbrella at an interview she gave to

Lyndsay Winship for London Dance.

Prizes:

2006: Carte Blanche Scholarship, IDEE exchange programme, Tanz Quartier Vienna, Austria

2005: 2nd prize at the 5th Cyprus Dance Platform for the piece “Shifts in Traces” Awarded by the

Ministry of culture of Cyprus

2004: Honorary at the 4th Cyprus Dance Platform for the piece “Deeper than Skin

deep…” Awarded by the Ministry of culture of Cyprus

2001: 1st prize at the 1st Cyprus Dance Platform for the piece “Deep Rise”, Awarded by

the Ministry of culture of Cyprus

Invitations/Residencies:

Chin-A-moves Choreographers symposium in Beijing China, April 2008

International improvisation Festival Seoul Korea May 2008

International conference : 'Citizenship-Multiculturalism-Cosmopolitanism' University of Cyprus

Performance Lecture on Crossing Borders Nov. 2007

BildBewegung Labor Tanzhaus NRW im Rahmen von TEMPS D´IMAGES 2007

United Nations Plaza, residency program organized by Anton Vidokle in collaboration with

Liam Gillick, Boris Groys, Martha Rosler, Walid Raad, Jalal Toufic, Nikolaus Hirsch and Tirdad

Zolghadr. Oct. 2006 – Oct. 2007

Manifesta 6, Department II, curator Anton Vidokle, Sep. – Dec. 2006

‘Dancing the Virtual’, The Sense Lab, Erin Manning, Concordia University, Brian Massumi,

University of Montreal, Society for Arts and Technology, Montreal, May 2006

‘Urban Fetishes lab’, curator Ong Keng Sen, Tanz Quartier Vienna, (part of the IDEE exchange

programme) April 2006

‘Fishing Dreams’ Choreography for the Graduates of the Dancers Deparment, Artez – Dance

Academy Arnhem, Hogeschool voor de Kunsten June 2006

Choreographies with Noema Dance Works:

- In Fluid Times (2008)

Co- produced with Tanzhaus NRW and The Ministry of Culture, Cyprus

Premier 7 & 9 September Tanzhaus NRW

Showcase, Internationales Tanzmesse Düsseldorf, 30 August

Terminus (2008)

Cyprus Dance Platform, March

European Dance Festival Cyprus, June

DancEUnion Southbank Centre London, September

Crossing Festival, Beijing, October

Fringe Festival, Shanghai, October

- Crossing Borders (2007)

Co- produced with Tanzhaus NRW and The Ministry of Culture, Cyprus

Municipal Theatre Nicosia, Kypria Festival 21 September

Castle Square, Kypria Festival 23 September

The Place, London, The Turning World 22 June

The Place, London, The Turning World 23 June

Tanzplatform NRW, Düsseldorf 12 May

Tanzhaus NRW, Düsseldorf 16 April

Tanzhaus NRW, Düsseldorf 15 April

- Affect (2006)

Aerowaves, Robin Howard Dance Theatre, London, UK , February

6th Dance Platform, Rialto Theater, Limassol, March

Tanzhaus NRW, Tanz tank, Düsseldorf, Germany, April

Gasteig Muenchen, May

Tanec Praha, Prague June

Julidans – Fresh dance, Melkweg Theatre Amsterdam July

Kalamata Dance Festival, Greece July

Tala Festival, Zagreb, October

- Shifts in Traces (2005)

5th Cyprus Dance Platform ( 2nd prize)

2nd Mediterranean Dance Festival Greece

Arena festival, Schauspielhaus Erlangen Germany

Sight specific performances with Noema Dance Works:

- Meeting in the Moment (2005)

2nd Summer Festival Nea Kinisi, Limassol, Cyprus

Choreographers collaborations and other works:

- Echo in Conversation (2007)

A performance with Julyen Hamilton, Alexandra Waierstall and Arianna Economou

Nicosia, Cyprus

- Deeper than skin deep produced by Echo Arts, (2004)

4th Cyprus Dance Platform ( Honored)

Fabricca Europa Italy 2004

Euro Scene Leipzig 2004

- Drop II (2004)

Solo performance, Forum culturale mondiale Sao Paulo Brazil

- Transiency produced by Echo Arts, (2003)

3rd Cyprus Dance Platform 2003

2nd Dance Festival Athens

Almada Dance Festival Portugal

- Gaze (2003)

11th Biennale for Youth Athens

- Deep Rise produced by Echo Arts, (2001)

1st Cyprus Dance Platform (1st Prize)

European Dance Festival Cyprus

Film:

- Time Walk (2008)

Urban Bodies Festival, Nicosia Cyprus

Chin-A-Moves, CCD Workstation, Beijing, China

Actors Performers Dancers

2008-07-08T07:28:00.000-07:00

ACTORS

ANNA ELEFANTI was born in Athens in 1976 ΜΑ in Performance, Goldsmiths College,University of London,2002-03 Διπλωματική παράσταση:"Domestic Acrobatics" σύνθεση, σκηνοθεσία, ερμηνεία από τις Άννα Ελεφάντη και Uma Thongman,Τμήμα Θεάτρου Σχολής Καλών Τεχνών Α.Π.Θ. - Κατεύθυνση: Υποκριτική Προπτυχιακές Σπουδές,1996-02 Διπλωματική παράσταση: "Το Γαϊτανάκι" του Άρτουρ Σνίτσλερ σε συνεργασία με το Χρήστο Θεοδωρίδη. Θέατρο:2007-08 Το Κυνήγι του Παιχνιδιού Βαρδάκα Μ. σκην. Βαρδάκα Μ. Παράσταση για παιδιά. 2007 Εγώ Είμαι το Θείο Βρέφος Καλαβριανός Γ. σκην. Καλαβριανός Γ. Club 22, Αθήνα 2007 .Patakouna Performance σε σύλληψη της Έυας Τσακνή Συμμετοχή στα εγκαίνεια της έκθεσης Unfair στο Athens Imperial Hotel και στο Performance Festival Bios, Αθήνα 2006 . .. Παραμύθια Performance των Άννας Ελεφάντη και Εύας Τσακνή Θέατρο επί Κολωνώ Συμμετοχή στις Βραδιές Performance, Αθήνα 2006 . .. Blue Κελίδου Μ. σκην. Θεοδωρίδης Χ. Θέατρο Τόπος Αλλού Συμμετοχή στο Φεστιβάλ Νέων Θεατρίνων, Αθήνα 2005 . Η Γλωσσοκοπάνα Μαριβώ σκην. Καμτσής Ν. Θέατρο Τόπος Αλλού Συμμετοχή στο Φεστιβάλ του Δήμου Θεσσαλονίκης "Δημήτρια" 2005 . Open 24h / 7 d.p.w. Χοροθέατρο σκην. Αγγέλου Μ. Πολυχώρος Αποθήκες, Αθήνα 2003. Spa σκην. Pilgrim G. Performance - promenade σχεδιασμένη ειδικά για το πρώην Νοσοκομείο Elizabeth Garret Andrerson 2001.Ο Θεατροποιός Μπέρνχαρντ Τ. σκην. Καλαϊτζή Γ. Πειραματική Σκηνή της Τέχνης, Θεσσαλονίκη 2000 01 Οδύσσεια Harris C. - Παπανδρέου Ν. σκην. Σταμούλη Ε. Παράσταση για παιδιά. Πειραματική Σκηνή της Τέχνης, Θεσσαλονίκη.1999-2000 Κόκκινες Μύτες σκην. Δημοπούλου Ε. Παράσταση για παιδιά. Στούντιο κλόοoυν: Sylvie Didier. Πειραματική Σκηνή της Τέχνης, Θεσσαλονίκη. 1997. Medea Show σκην. Συρόπουλος Β. Μουσική παράσταση σε διασκευή της Μήδειας του Ευριπίδη. Στο πλαίσιο του International Theater Conference "Millenium Responces (Dis) Placing Classical Greek Theatre". Διοργάνωση: Τμήμα Αγγλικής Γλώσσας και Λογοτεχνίας Α.Π.Θ. σε συνεργασία με το "Θεσσαλονίκη, Πολιτιστική Πρωτεύουσα της Ευρώπης 1997".

Dejan Garbos (1972)

Performing artist and workshop facilitator

After studying psychology at the University of Belgrade, he actively pursued training in contemporary performing arts (theatre and dance), in different techniques of communication and workshop leadership through the educational and experimental program of Soros Foundation (USA). In 1997 became a professional collaborator and creator of the program.In 1998 co-founded an independent company, under the name of: The Craft Theatre. It is in this frame, that he created most of his performances and directed workshops and seminars in Serbia, the Czech Republic, Austria, Germany, Bosnia and Herzegovina, Macedonia, Bulgaria, Hungary and France. He collaborated with different companies and individuals as an actor, dancer, director and choreographer.In 2004 completed an international post-graduate EU program in Performing Arts Training and Research at the University of Novi Sad, in collaboration with Salzburg Experimental Academy of Dance, En-Knap Dance Company in Slovenia and Work Centre in Pontadera Italy (his research was based in performing genders subject and an investigation of the body limits and fluids). During this master research he worked with Denes Debrei (France), Julyan Hamilton (UK), Eszter Jagica (Canada), Iztok Kovac, Maja Delak, Tomi Janezic (Slovenia), Prof. Jasmina Cubrillo (Serbia), Nhandan Chirco (Italy) and Thomas Richard (USA).In 2005 invited to Paris by a French Association, Theorem. During that time he took part in an international symposium at the Center National de la Dance Paris, co-created a performance called, La Repetition, began the development of the Project NNY1, and competed the Cours de Civilisation francaise de la Sorbonne University and Cours d’Institut Figari des Massages Creatifs.He now lives in Paris.

Dance/Theatre performances

- Les memoires palpables, Concept by D. Garbos (2008) current work

- Reality Dance Show, Concept and text by D. Garbos (2007/2008) current work

- I am a mistake, text, direction and choreography by Jan Fabre, Troubleyn Theatre (Belgium) and Dubrovnik festival, master class and work-in-progress (2006).

- Reality Show, Concept and text by D. Garbos, The Red House, Sofia (2006).

- Play of Madness, directed by Gordana Lebovic and D. Garbos, Bitef Theatre (2005).

- La Repetition, dance and choreography by D. Garbos, La Generale, Paris (2005).

- To be she/he or not to be she/he, co-created and performed by D. Garbos, MFA (2004).

- Tito’s Castle, concept by Julyan Hamilton (UK), Serbia (2004).

- Kanuni, directed by Nhandan Chirco (Italy), National Theatre Novi Sad, Serbia (2004).

- Possible Dia-grams, choreography by Denes Debrei (Centre National Choregraphique d’Orleans Josef Nadj, France), National Theatre Novi Sad (2004).

- Hotel, co-directed by D. Garbos, Berlin, Germany (2004).

- Short pieces, directed by Dog Troup (Holland), Belgrade, (2003).

- Oro Bastonado, directed by Dragana Alfirevic and D. Garbos, ECF Amsterdam and Bulgaria, (2002).

- Watercraft, solo creation Dejan Garbos, Festival Ljetopis, Montenegro, (2002).

- The Bent of Nature, directed by Nhandan Chirco (Italy), National Theatre Novi Sad, Serbia (2002).

- Inner Landscape, concept and choreography Hisako Horikawa (Japan), Belgrade (2001).

- AIA Play, co-directed by D. Garbos, National Theatre Cetinje, Montenegro (2001).

- So Close, So Far, directed by D. Alfirevic and D. Garbos, Sarajevo, BIH (2000).

- Building The Fall, directed by D. Alfirevic and D. Garbos, Belgrade (1999).

- The Day After, directed by D. Alfirevic and D. Garbos, Centre for Contemporary Art, Prague, Czech Republic (1999).

- Journey, choreography by Andjelia Todorovic, Bitef Theatre, Belgrade (1998)

- Quartet, Authors and performers D. Alfirevic and D. Garbos, Belgrade (1998).

- Our Lady of the Flowers, choreography by Andjelia Todorovic, Bitef Theatre, Belgrade (1998).

- Nistar the Rover, directed by S. Bestic, Belgrade (1998).

- The Town, directed by Judith Malina, Living Theatre (USA), BITEF (1997).

- Erg V.I.R.U.S., choreography by Boris Caksiran, Belef Festival, Belgrade, (1997).

- Generative Space, BITEF Alter Image, Belgrade (1996).

Workshops and seminars created and led by D. Garbos

- DanceImproCommunication for dancers and actors, Paris, current

- Les Massages Creatifs, Institut Figari, Paris, assistant by invitation, current

- Body language/public speaking, OSCE training (2005/06).

- Community Art and Europe 2000 programme, training for theatre makers and workshop leaders, Berlin, Germany (2004).

- Project Stairs, for actors, dancers and handicaps, Sofia, Bulgaria (2003).

- Seminar in NP Kikinda for actors, Serbia (2002).

- Craft workshop for actors and dancers, Vienna, Austria (2002).

- Workshops in Sartr Theatre for actors, Sarajevo, Bosnia and Herzegovina (2001).

- AIA Seminar for students, Academy for Performing Arts Montenegro and European Culture Foundation Amsterdam, Holland (2001).

- Seminar: Communication Training through Political Theatre and Performance Art, World University Service Austria, European Union program and Academy for Performing Arts Sarajevo (2001).

- Seminar: Governments, Politic, Power and Religion (SHL Germany), Bosnia and Herzegovina (2000).

- Youth against War Project, work on the performance with youth, Bosnia and Herzegovina (2000).

- International Summer Theatre Camp for theatre makers, Tata, Hungary (2000).

- Craft Theatre International Seminar (SHL Germany), Bosnia and Herzegovina (2000).

- Project Building the Fall, for actors and dancers, Belgrade (1999).

- Theatre seminars Antitheatre for actors, Sarajevo, Bosnia and Herzegovina (1999).

- Practical Training for dancers and actors in Centre for Contemporary Arts-Prague, Czech Republic (1999).

- Project Signe in Silecian Dance Theatre, Bitom, Poland (1998).

- Series of workshops in Serbian National Theatre for actors and dancers, Belgrade (1998).

- Workshops for performers in Academy of the Spiritual Skills and Soros Foundation (USA), Novi Sad (1998).

PERFORMANCE ARTIST

ESZTER JAGICA

Eszter is a performance artist and curator at the DeLeon White

Gallery in Toronto/Ontario. She has studied theatre and languages (B.A.) at Bishop’s University, Quebec-Canada, MA and Ph.D at the Graduate Centre for Study of Drama at the University of Toronto.

Directing

Istvan Kantor - 010100/ Performance, Buddies in Bad Times Theatre - Rhubarb Festival, Toronto, Ontario, 2003

Sarah Kane - Crave, Glenn Morris Theatre, Toronto, Ontario, 2002

Adaptation of Sarah Sheard’s The Swing Era, Glenn Morris Theatre, Toronto, Ontario, 2002

Adaptation of Heinrich von Kleist’s Penthesilea, Robert Gill Theatre, Toronto, Ontario, 2001

Heiner Müller - Bildbeschreibung/Description of a Picture, Centennial Theatre, Lennoxville, Quebec, 2001

Harold Pinter - Silence, Centennial/Studio Theatre, Lennoxville, Quebec, 2000

Adaptation of Ellen Goldfinch’s Shrine, Centennial Theatre, Lennoxville, Quebec, 2000

Dramaturgy and Performance

Performance Project- A Homage to Rudolf Schwarzkogler- DeLeon White Gallery, Toronto-Canada, 2008

Collective performance with artist Istvan Kantor, Toronto-Canada, 2007

Performance Project- Balkan Arts Festival, Have U Met Nosti?- Dublin- Ireland, 2007

Collective performance with artist Istvan Kantor at the Casa del Popolo, M

ontreal-Canada, 2007

Chashama Festival-Collective performance with artist Istvan Kantor, New York-USA, 2006

George Tabori - Mein Kampf - Dramaturg - Glenn Morris Theatre, Toronto-Canada, 2005

Solo performance at the Zsa-Zsa Gallery, Toronto-Canada, 2005

Rencontre Internationale d’art performance de Quebec - Quebec City-Canada, 2004

Interakcije - An International Performance Festival, Pjotrkow Tribunaski- Poland, 2003

Heinrich von Kleist - Pentheselia. Directed by Sebastian Giesmann and Eszter Jagica - Robert Gill Theatre, Toronto-Canada, 2001

Adam Bennett - The Wind in the Willows. Directed by Prof. Greg Tuck - Centennial Theatre, Lennoxville, Quebec-Canada, 2001

Harry Stadjofski - A Dog, A Ghost, A Cat. Directed by Harry Standjofski - Centennial Theatre, Lennoxville, Quebec-Canada, 2000

James Reaney - Listen to the Wind. Directed by: Prof. Greg Tuck - Centennial Theatre, Lennoxville, Quebec-Canada, 1999

Δημήτρης Παπανικολάου

Γεννήθηκε στην Αθήνα. Σπούδασε Φιλοσοφία στο CNR Philosophique de Besançon στη Γαλλία. Τελείωσε τη Δραματική Σχολή του Θεάτρου Τέχνης Καρόλου Κουν το 2001.Έχει συμμετάσχει στις παραστάσεις: 2002 «Αγάπης Αγώνας Άγονος», W. Shakespeare Σκηνοθεσία: Στάθης Λιβαθινός (Ολοφέρνης), υποψήφιος για το βραβείο «Δημήτρης Χορν» - Π.Σ. Εθνικού Θεάτρου 2003«Αυτό που δεν τελειώνει», Ελληνική Ποίηση του 20ου Αιώνα Σκηνοθεσία: Στάθης Λιβαθινός - Π.Σ. Εθνικού Θεάτρου «Το παλτό», Ν. Γκόγκολ Σκηνοθεσία: Νίνα Τσούσοβα (Ράφτης, Πετρόβιτς και άλλοι ρόλοι) - Π.Σ. Εθνικού Θεάτρου «Μήδεια», Ευριπίδης Σκηνοθεσία: Στάθης Λιβαθινός- Π.Σ. Εθνικού Θεάτρου 2004 «Αυτό που δεν τελειώνει, Εκδοχή ΙΙ», Ελληνική Ποίηση του 20ου Αιώνα Σκηνοθεσία: Στάθης Λιβαθινός - Π.Σ. Εθνικού Θεάτρου «Μολιέρος», Μ. Μπουλγκάκοφ Σκηνοθεσία: Στάθης Λιβαθινός (Γελωτοποιός ο Δίκαιος Παπουτσής) - Π.Σ. Εθνικού Θεάτρου «Μαύρος Μοναχός», Α. Τσέχωφ Σκηνοθεσία: Λίλη Μελεμέ(Μαύρος Μοναχός) - Π.Σ. Εθνικού Θεάτρου 2005«Όνειρο», Α. Στρίντμπεργκ Σκηνοθεσία: Στάθης Λιβαθινός (Ποιητής) - Π.Σ. Εθνικού Θεάτρου 2006«Ντιμπούκ», Σ. Ανσκυ, διασκευή Μπρους Μάγιερς Σκηνοθεσία: Σωτήρης Χατζάκης (Άντρας), υποψήφιος για το βραβείο «Δημήτρης Χορν» - Π.Σ. Εθνικού Θεάτρου 2007 «Ηλίθιος», Φ.Ντοστογιεφσκυ Σκηνοθεσία: Στάθης Λιβαθινός (Στρατηγός Αρνταλιόν Αλεξάντροβιτς Ίβολγκιν, Ευγένιος Παύλοβιτς Ραντόμσκυ) - Π.Σ. Εθνικού Θεάτρου «Στο Βυθό», Μ.Γκόρκυ, διασκευή Ρούλας Πατεράκη Σκηνοθεσία: Ρούλα Πατεράκη (Λουκάς) - Π.Σ. Εθνικού Θεάτρου2008 «Μασκαράτα», Μ.Λερμοντοφ Σκηνοθεσία: Στάθης Λιβαθινός (Αρμπένιν) – Φεστιβάλ Αθηνών.

IERONIMOS KALETSANOS

As shark at http://bossanovaperformance.blogspot.com/2007/12/ieronimos-as-sharkidea-video-by.html

DANCERS

GABRIELLA DARIS

is Greek-Canadian, London based researcher, dancer and choreographer, mostly traveling and exploring different cultures of the globe as a voyeur, whilst writing her intellectual pornographic memoirs.

She holds Advanced Certificate in Classical Ballet (Royal Academy of Dancing), Advanced Certificate in Scuba Diving (PADI), Post-graduate Certificate in Dance Writing and Criticism (Chichester University), BA in English Literature and History of Art (Goldsmiths College), MRes in Humanities and Cultural Studies (The London Consortium). Since an early age, she has been researching and experimenting with the technologies of the body and the natural elements, the process of metamorphosis and ways of becoming. Her mind and corpus cast through a kaleidoscopic lens of subjects such as, fantasy, myth, authenticity, mimesis and disappearance via philosophical implications of voyeurism, hedonism, necrophilia and agalmatophilia. Her researcher interests are among many, phenomenology of vision, archaeology of the body, memory and trauma studies, philosophy of death, studies of the occult, porno, erotic and suicidal writing.Gabriella occasionally appears to be rock climber and scuba diving instructor (PADI), more often, performs and choreographs for the stage and the camera. She regularly assists in the curating of exhibitions by the German filmmaker and pre-cinema collector Werner Nekes, also together they brainstorm their scripts for forthcoming films on the analysis of motion, dance-notation, erotic anamorphosis and visual illusion. Her more recent collaboration is, with conceptual artist Michael Clark and their respiratory sculpture drawn from breath, S P E L L, exploring notions of synaesthesia and transformation, when poetics and sadism interweave.

Quotes

“Her awakening solo had a stretchy sensuality and linear elegance...Daris made

the slow evolution of body sculpture powerfully engaging, her remarkable fluidity creating a kind of undersea lyricism.”

Lewis Segal, Los Angeles TIMES, May 28, 2007

“As a result of a very rare bodily and intellectual disposition, Gabriella Daris is capable of being a mediator through movement... from psyche and body, from mind and body... One should not put his trust to Nietzsche, who never developed bodily movement... poetic pictures, fairytales, myths and sagas all contain her fascination through the inner

emotions of the narrator.”

Bazon Brock, Feb 18, 2008

“… switching between the body as focus, and the silhouette/shadow as focus… as a voyeur, which made the image feel more spectacular/alive/erotik/haunting... then treating the image rationally, as a hymn on a stage.”

Saint ROXANNE, February 7, 2008

MELIA KREILING was born in 1985 in Geneva, to a Greek mother and American father. Melia graduated from Campion School Athens in 2003; simultaneously having attended the pre-professional grades at the State School of Dance, Athens. She moved to the UK, where she got a DipHE in Dance Studies from King Alfred’s College in 2004, and then moved on to graduate with a BA in Dance from the Northern School of Contemporary Dance in 2008.She has worked with Nova Melancholia Company in Description of a Battle (Athens), Aerites Dance Company in Anorexia Socialis (Athens), and with Elena Penga in Faidra or Alcestis Love Stories (Delphi Festival). She has also worked as a teacher/assistant choreographer for Campion Schoolin 2007.She has studied with Bernadette Inglich, Hofesh Schecter, Andile Sotiya, Gary Clarke, Anna Williams, Luis Malvacias, Rob Marshall, Phil Turner, RAD Summer Intensives and others. Melia has also created two works during her years at NSCD which were showcased at platforms; ‘Last night I drowned’ and ‘No breathing for you’. She is currently working part-time at 4ESSERA magazine in Athens.

NEFELI SKARMEA

Nefeli was born in athens, 1977, she studied dance in the State School for Dance of Athens, the Royal Ballet School, London and in the Rotterdamse Dansakademie. First professional engagement with the Saarlaendisches Staatstheater in Saarbruecken; from 2001-2005 with the Tanztheater Nurernberg and since then in the free-scene with various choreographers: Stijn Celis, Russel Malifant, Rui Horta, Rodolpho Leoni, Susanna Leinonen a.o. As a free-lancer has worked with cie. Toula Limnaios (Berlin), Philip Bergmann (munich/vienna), Veronika Riz (Bolzano danza) and Colette Sadler (Berlin/Edinburgh).

Contributor Artist/Panos Kouros

2008-07-08T07:00:00.001-07:00

Artist, Associate Professor, Department of Architecture, University of Patras. Ph.D. in Architecture. Areas of activities and research: public art, urban interventions, collective actions, networking, mnemotechnics of the city. His work unfolds in different areas linking critical art practices to architecture, urban culture and politics of memory. It comprises propositions, installations, curating projects and critical studies, and has been presented and distinguished at international art exhibitions (USA, Greece, China, Germany, Mexico, Turkey, etc.). He was appointed Research Fellow at the Center for Advanced Visual Studies (C.A.V.S.),M.I.T., and Lecturer at the Department of Architecture, M.I.T. and the Massachusetts College of Art. He participated at international art and architecture conferences, and has published books, articles and studies on media culture, education and contemporary art. Recent publications: “Constructing the Public Sphere: Topical Works 2002-07”, Athens: Futura and Department of Architecture, University of Patras, 2007, “Acts of Uttering-together”, Athens: Futura, 2008.

www.mnemeden.org

http://constructing-public-sphere.blogspot.com/