artistonartistconvergences-blog

[artistonartistconvergences-blog]

About the project

The Criss-Cross | Αrtist on artist convergences attempts to examine the influential marks of encounters between artists. Departing from relationships which determined the life and the creative development of the involved subjects, as well as the way that history of art is constructed, the project attempts to reflect experimentally on those meetings and re-examine their dimensions and importance. Longstanding collaborations, friendships and love affairs, momentary encounters or short conversations, spiritual proximities and rivalries, seem to have composed an alternative archive of ‘relational’ history of art. Antonello da Messina meets Jan Van Eyck, Pier Paolo Pasolini interviews Ezra Pound, Robert Rauschenberg erases a Willem de Kooning’s drawing, Joseph Beuys states the silence of Μarcel Duschamp to be overrated. These registered or rumored encounters between historical figures are undoubtedly appealing; however, they are also political: they hold roles and authority, social class, race, gender and sexuality. The subjects performing those are poor or rich, black or white, homosexual or heterosexual, slim or fat, liberal or conservative, famous or unknown. They might establish love or hate relationships, their encounters might be fateful, inevitable or even tragic: Camille Claudel dies in a psychiatric clinic and Ana Mendieta was found dead on the terrace of a delicatessen, 33 floors under the window of her apartment. Τhe project Criss cross - Αrtist on artist convergencies goal is to compose a wide network of collaborations between artists, art theorists and social scientists, attempting to create encounters accompanied by workshops, participatory or collective actions, performances and talks.

[artistonartistconvergences-blog]

CRISS CROSS 2 | ASFA AND A-DASH, ATHENS, SEPT 20-22, 2019

[artistonartistconvergences-blog]

_x_ Criss Cross 2 | Studying Encounters_x_

_x_Curated by Eva Giannakopoulou, Yiannis Melanitis and Panos Sklavenitis_x_

_x_Participants: Nadja Argyropoulou, ASFA Studio Poka-Yio, Aria Boumpaki, Michel Colet, Norah Dineen, DOLCE (Fanis Dalezios, Theodoros Koveos, Matina Nikolaidou), Ioanna Gerakidi, Maria Gorgia, Eva Isleifs, Kling & Bang  (Elísabet Brynhildardóttir, Erling Klingenberg, Selma Hreggviðsdóttir, Sirra Sigrún Sigurðardóttir, Rúrí Sigriðardóttir Kommata), Dimitra Kondylatou, Rakel Mc Mahon, Most Mechanics Are Crooks (Alexis Fidetzis, Eva Giannakopoulou, Panos Sklavenitis, Kostis Stafylakis), Yiannis Melanitis, Maria Nikiforaki, Christian Oxenius, Maria Papadimitriou, Naira Stergiou, Studio 11 asfa, Antigone Theodorou, Eriphyli Veneri, Valentine Verhaeghe (ISBA, Besancon), Michailangelos Vlassis-Ziakas, Poka-Yio, Eleana Yalouri, Neritan Zinhiria._x_

_x_Isolation and exclusion forge ahead against the so called “failed multiculturalism”, as stated by European leaders.In contrast to this dystopian condition, we focus on extroversion and cooperation, the networking of those very subjects who fret in this new claustrophobic reality. Reevaluating the political potential of an encounter between subjects with affinities, friends and peers, could be the “per excellence” content of the synergy we propose and its emergency. Without idealizing togetherness -which either way entails power politics, discrimination or appropriation-, we attempt to fantasize new ways of cooperation, to reinvent the terms of claiming proximity, to reexamine the ontological and political notions of encounters, to use these artistic practices for discovering unexpected facts and different possibilities. In its second version CRISS CROSS | ARTIST-ON-ARTIST CONVERGENCES, is transformed into a networking organism expanding ideas and practices, focusing in coexistences that oscillate between the “acceptable” and “unacceptable”, in what is defined as politically correct and incorrect, in the performativity of the encounters in front of and behind the cameras, in a party and a conference room. The project unfolding in three days encounters will hopefully constitute a collective piece of art co-shaped with the participants. Visual artists, students and theorists will cooperate, in order to create working groups that will creatively investigate the encounter notions. How are we going to meet? In which context? What are we going to discuss? What are we going to wear? What or who are we going to carry with us? Are we even going to exchange presents? Are there going to be surprises? The last day of the project in A-DASH, will be a show unfolding with actions, live events and documentations of the previous Criss Cross 2 encounters._x_

_x_Criss Cross 2 | Studying Encounters is part of the project CRISS CROSS | ARTIST-ON-ARTIST COΝVERGENCES by Eva Giannakopoulou, Yiannis Melanitis and Panos Sklavenitis. CRISS CROSS is a project that attempts to examine the influential marks of encounters between artists. Departing from relationships which determined the life and the creative development of the involved subjects, as well as the way that history of art is constructed, the project attempts to reflect experimentally on those meetings and re-examine their dimensions and importance. Longstanding collaborations, friendships and love affairs, momentary encounters or short conversations, spiritual proximities and rivalries, seem to have composed an alternative archive of ‘relational’ history of art._x_

_x_The workshop will be held in English._x_

_x_Criss Cross 2 | Studying Encounters is part of the project CRISS CROSS | ARTIST-ON-ARTIST COΝVERGENCES by Eva Giannakopoulou, Yiannis Melanitis and Panos Sklavenitis_x_

_x_Kindly Supported by ASFA, Isba-Besançon and Montagne Froide/Cold Mountain_x_

[artistonartistconvergences-blog]

CRISS CROSS 1 | HYDRA | MAY 25-28

[artistonartistconvergences-blog]

CRISS CROSS 1 | HYDRA | MAY 25-28

Coordination: Eva Giannakopoulou, Yiannis Melanitis, Panos Sklavenitis

Participants: Zoi Antypa (Florina School of Fine Arts student), Stelios Apostolou (Florina School of Fine Arts student), Angeliki Avgitidou (professor, Florina School of Fine Arts), Michailangelos Vlassis-Ziakas (visual artist), Fotis Georgiadis (archeologist, paleoanthropologist), Evriviadis Goro (ASFA student), Theofanis Dalezios (DOLCE editions, editor), Maria Zourou (Florina School of Fine Arts student), Eva Isleifsdottir (visual artist), Theodoros Koveos (DOLCE publications, curator), Elpida Karamba (art historian, curator), Tonia Korsak (Florina School of Fine Arts student), Katerina Lempidara (ASFA student), Rakel McMahon (visual artist), Vasilis Diaz (ASFA student), Kalliroi Panagou (ASFA student), Stefanos Papadakis (ASFA student), Athanasia Papadopoulou (Florina School of Fine Arts student), Georgia Ivi-Pappa (ASFA student), Tatiana Ilichenko (visual artist), Margarita Tsalouha (Florina School of Fine Arts student), Alexis Fidetzis (visual artist)

[artistonartistconvergences-blog]

[artistonartistconvergences-blog]

Nan Goldin and Vivienne Dick at the launch of the exhibitions Weekend Plans and 93% Stardust in Imma, Dublin.

https://www.irishtimes.com/culture/art-and-design/nan-goldin-and-vivienne-dick-extraordinary-art-extraordinary-friendship-1.3135795

[artistonartistconvergences-blog]

Sculpted Portrait of Giuseppe Bossi by Antonio Canova | New England Patrons of the Arts in the Vatican Museums

https://www.nevaticanpatrons.org/sculpted-portrait-of-giuseppe-bossi-by-antonio-canova/

[artistonartistconvergences-blog]

“Germany today certainly has no idea what it owes to this young, dead painter—how much he accomplished, how much he succeeded at. Everything he touched with his skilled hands, anyone who came near him, came alive—every kind of material, and above all, the people whose imagination he magically captured with his ideas. How much we painters in Germany owe to him! What he has sowed will still bear fruit, and we, as his friends, want to make sure that they do not remain a secret.” (Franz Marc, in his obituary for August Macke, 1914)

When the 22-year-old August Macke (1887–1914) met the seven-year-older Franz Marc (1880–1916) for the first time in his studio in Schellingstrasse, it was the beginning of a close friendship between the two artists, although their temperaments were entirely different. The friendship was not only valuable to both, but also enriched the art of their time period. Macke had seen some of Marc’s lithographs at a gallery in Munich on January 6, 1910, and was so keen on them that he went to call on him that very day. Their friendship lasted only four years; just a few weeks after the outbreak of World War I, it came to a sudden end, with Macke’s death on the western front. Marc, who also fell on the battlefield two years later, composed a shaken obituary for his companion. He also expressed his deep sorrow in a letter to the art patron Bernhard Koehler: “It is truly the cruelest blow this war could have dealt me; I lost a piece of me when he died.” http://www.hatjecantz.de/august-macke-and-franz-marc-6422-1.html

Portrait of Franz Marc (Bildnis Franz Marc) 1910

[artistonartistconvergences-blog]

JESSICA DIAMOND Yes Bruce Nauman 1989 Metallic silver paint and black acrylic on paper 38 1/4 x 49 5/8 inches 97.2 x 126 cm Private Collection, New York Signed and dated on upper right, verso

[artistonartistconvergences-blog]

Joseph Beuys

‘Das Schweigen von Marcel Duchamp wird überbewertet’ (‘The Silence of Marcel Duchamp is Overrated’).

[artistonartistconvergences-blog]

Robert Rauschenberg was nervous. Standing in front of Willem de Kooning’s house, clutching a bottle of Jack Daniel’s in one hand, the 27-year-old artist knocked hesitantly on the door. Don’t be home, he silently prayed. “But he was home,” Rauschenberg later recalled. “And after a few awkward moments, I told him what I had in mind.” What Rauschenberg wanted was one of de Kooning’s drawings. By itself, the request wasn’t surprising—artists in the same circles often traded works, and the two of them were already friendly after meeting at Black Mountain College a year earlier. But the younger artist didn’t want to hang the sketch on the wall of his studio. No, Rauschenberg explained, he wanted to erase it.

https://www.artsy.net/article/artsy-editorial-robert-rauschenberg-erased-de-kooning

[artistonartistconvergences-blog]

Paul Gauguin’s portrait of Vincent van Gogh, painted in Arles, France in 1888

[artistonartistconvergences-blog]

“It was like some crazy art-world marriage, and they were the odd couple. The relationship was symbiotic. Jean-Michel thought he needed Andy’s fame, and Andy thought he needed Jean-Michel’s new blood. Jean-Michel gave Andy a rebellious image again.”

[artistonartistconvergences-blog]

Pier Paolo Pasolini Interviews Ezra Pound.

[artistonartistconvergences-blog]

Marina Abramović & Ulay - The Other: Rest Energy (1980)