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Cover series: #6 Alexandros Simopoulos (aka thisisopium)

Snehta Residency

47, Drosopoulou Str., 11257 Athens www.snehtaresidency.org Drive me

Can you hear the sirens moan

curated by Ioanna Gerakidi
Admission: Free
Opening: 21.11.2018, 20:00
22.11.2018-24.11.2018

Opening Hours: 11:00-20:00

Add to calendar 2018:11:21 20:00:00 2018:11:24 23:44:00 Europe/Athens Can you hear the sirens moan Can you hear the sirens moan - More informations on /events/event/1791-can-you-hear-the-sirens-moan Snehta Residency Ioanna Gerakidi

Snehta Residency presents the group show "can you hear the sirens moan" with Anat Propper Goldenberg, to kosie and Keti Ortoidze and curated by Ioanna Gerakidi. 

The exhibition will be accompanied by a series of performances and readings by the artists. For more information about the acts that will be taking place in various locations in Kypseli scroll down.

can you hear the sirens moan

"Intersectionality is a lens through which you can see where power comes and collides, where it interlocks and intersects".
Kimberlé Crenshaw

"can you hear the sirens moan" is a group show looking with and thinking across intersectionality as a means for reaching otherness, for transforming, altering, acting and interacting with our surroundings. It is an exposition of what resides, or is being considered as, unheard, unintelligible, a-rhythmic. It’s a collection of traces and remnants of various processes of labour, of reminiscences often neglected, dismissed, stigmatized. 

The exhibition aims on exploring the voice of these inherent qualities of the artwork, on forming through their time and space, when the works are in a fragile state of becoming. It intends to disrupt the syntaxes and automations of the art system through rejecting the finalized, fixated form. The artworks as concrete (non)-objects, theses and systems, are being replaced by a composition of materials, liquids, words, failures and experiments. 

Emily Roysdon reframes the theoretical concepts of intersectionality when talking about Ecstatic Resistance. She writes that “Ecstatic resistance develops a positionality of the impossible as a viable and creative subjectivity that inverts the vernacular of power”. The traces of the works exhibited try to touch and be touched by this impossibility. They act as intersessors participating in art’s systemic frameworks, whilst longing for their change. They let personal narratives and collective histories to exist otherwise, they re-arrange institutional terms, re-invent time structures. They re-act morphing a current with their willful presence, creating a stage for being together, for exchanging sentiments, knowledges, attitudes, performing selves, wounds, breaths, kisses. 

Nataša Petrešin-Bachelez traces intersectionality as a methodology on “how to resist from within oppressive systems, such as the art market, the institutional art world, the cycle of fame”. "can you hear the sirens moan" becomes a haptic animation of such a thesis, espousing its politics and poethics, borrowing a term from Denise Ferreira da Silva's theory, for its materialization. 

"can you hear the sirens moan" is an exhibition striving for a politicisation of the idiolect. 

*the title is borrowed from "Don't Let It Bring You Down", a song by Neil Young

Ioanna Gerakidi

PERFORMANCES

hit n hug, to kosie, 
Date: 18/11/2018 
Time: 18:00-19:00
Location: tba

hit n hug looks closely on art labour as a practice of giving by pushing it to its limits. Its structure draws in three phases, to talk about practices of hosting, gifting, welcoming, whilst concurrently accepting the anger, the insecurities, the tiredness that such gestures imply. In the first phase, the artist is exposing its relationship with the material. A relationship full of closeness, resentment but also care. Creating an object becomes an practice that evolves through the hugs and hits, through the interaction with another entity, through losing both entities on the way. The object created through the connection is a twisted, restrained, floating post-capitalistic body.

Yet the art labour is never enough. Artists are always expected to give more and more. In the next phase to kosie destroys the object, it lets go of everything that happened before. The process circularly reaches its end, only when it finally gifts pieces of the object. to kosie does so espousing the pain of loss, the anger of never ending expectations, the fear of being used, but also the hope that the material fragments of the process will generate togetherness between its holders.

https://hitnhug.tumblr.com/

TEMPERED BREATHE, Anat Propper Goldenberg,
Date: 23/11/2018
Time: 17:00 - 17:30
Location: Church of St Theresa, 32 Eptanisou str, Kipseli, Athens

TEMPERED BREATHE is a work about waiting. Waiting for someone, waiting for something. Praying and waiting.
Staying active in the time of waiting, which is supposed to be a passive act.

*The texts operating as a work descriptions are written or chosen by the artists themselves.

Snehta would like to thank Felipe Katotriotis for his technical support and contribution in regards to screen printing methods. 

More information and artists'short bios:
https://www.snehtaresidency.org/

With the support of the Outset Contemporary Art Fund (Greece)

Can you hear the sirens moan