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the 3rd athens biennale, 'monodrome', was for me clearly the most interesting so far - also the most curatorially coherent. the choice of main venue -the now disused 'diplareios' school [that used to train students in various crafts] located in the middle of one of the most problematic parts of athens' centre- was both inspired and defining
there was a constant and incredibly fruitful dialogue between the works of art and the building itself, its history -as we know it, as it appears graffittied on its walls, or exhibited in its archives-, the buildings around it, and the views from its windows as one ascended its floors
i therefore chose to concentrate on the building, its surroundings, and the views one sees as one walks along its various rooms
managing one's home: that's what "economy" meant in the first place; money came later - and is the least of it
a first draft / extract from les mains d' hypnos [hypnos' hands; where "hypnos" in greek is both "sleep" and the mythical brother of death] -two handbound 'noteboks' of photographs of hands facing poetry by rene char [his 1946 book, feuillets d' hypnos [hypnos' leaves]]- with which i'm taking part in the group exhibition "icono-poeisis" [m.cacoyannis foundation, athens, 11-26 march 2011]
this spectator of patrice chereau's 'faces and bodies' has been sighted again in 'land'
[photo: p.i., paris, i.2011]
The “Pedion tou Areos” [Mars’ Fields] Park of Athens –one of the two largest in the city– has been during the past several years, and still is, under re-landscaping. However, parts of it have been gradually opening to the public since last September. And on Christmas eve, the low headlights on the street side of Leoforos Alexandras were on for the first time.
This New Year’s eve, having spent a lovely early evening drinking tea with a seldom –until now, at least– seen friend, I returned home. Very peaceful, I decided to stay in. Washed the dishes, made only a single phone call, read the year’s –and decade’s– rather somber review in the paper. I was toying with the idea of going to bed early – but then thought I should go out and realize the idea I had on Christmas eve.
I photographed –with no pretensions to ‘art’– each single headlight on the street side, using identical conditions: the lower part of the frame rests on the top of the marble ledge; each headlight is placed in the middle of the bottom edge.
All photographs were taken by me standing on the pavement lane for the blind.
The Park’s re-landscaping has been a long time coming, unfortunately. Fortunately, its principal architect, Alexandros Tombazis, is a respected figure – and received the highest number of votes amongst candidates with the party that won the recent municipal elections. Those results were a great relief, and many hopes hang on them.
The headlights end at the site of Athena’s statue, erected in 1952 to honour British, Australian and New Zealand soldiers who were killed on Greek soil during WWII. It now looks over a –perhaps regrettably rather too geometrical, but certainly mythologically appropriate– olive grove. The skaters, who used to love the marble pavement in front of it, will have, I hear, their specially designed area.
The lights are on. There’s work to be done.
