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Cover series: #7 Chrysanthi Koumianaki

Rodeo Gallery - Piraeus

41, Polidefkous Str., 18547 Piraeus www.rodeo-gallery.com Drive me
Opening: 05.04.2019, 19:00
06.04.2019-01.06.2019

Wednesday-Saturday: 13:00-21:00
or by appointment

Add to calendar 2019:04:05 19:00:00 2019:06:01 23:18:00 Europe/Athens All Souls Day II All Souls Day II - More informations on /events/event/2177-all-souls-day-ii Rodeo Gallery - Piraeus

Following All Souls Day, an exhibition that first opened in Piraeus in January, the second part takes a different shift by inviting a group of Athens-based artists to respond to this call through their practices that deal with the commemoration and elevation of the life of others, the unknown-to-us heroes of the everyday.

Differently to the previous edition, most of the works in All Souls Day II are produced for this exhibition in close dialogue with the artists.

The exhibition takes as a starting point Arbeit (2011) by Duncan Campbell, an abstracted biopic of the Euro zone through the life of one of its biggest defenders, the German economist and technocrat Hans Tietmeyer, who served as the president of the Deutsche Bundesbank from 1993 to 1999 and took a leading position during the negotiations and makings of the European Monetary Union following the reunification of Germany. Campbell portrays the figure of Tietmeyer by creating a long, in-depth monologue triggering the figure of the economist and analysing the psychology of a man brought up in the Catholic environment of Westphalia in the 30s. The piece becomes central and sets the tone towards a scepticism on systems that have become integral to people’s living, for example the European Monetary Union, banking policies, unifications and divisions, and reminds us that existence becomes subject to social and political structures set by others.

The moral crossroads that Menelaos Karamaghiolis’ new moving image works generate expand the video space and introduce a new kind of realism the filmmaker has been constructing throughout the past decade, by mapping what is not central in the geography of the heroic.

#no_border_films(2019) is the name of an Instagram account the artist has created for a group of video works to be part of, selected, organised and uploaded by himself through a period of time. The viewer is able to experience the video given the time frame that Instagram allows. The video #nøborders can be viewed in its full length within the liminal space that’s been hosted by the gallery in order to turn Cloud space into materialised memory. It depicts a ceremony where a man with a phone camera is the centre point. The artist was present upon invitation by Maradona, originally from Albania, to attend the occasion in anticipation of a possible solution the film would give to his problem. We are watching him holding a mobile phone over the dead body of an old woman, unsure whether he is filming and slowly realises that it is a tele-mourning ceremony alongside the actual one taking place in the room. It happens that as he has just been released from prison he is under a travel ban and is not allowed to go to Albania where the actual burial of his mother is going to take place. He is connected to his sister in Fier who mourns in this ceremony that is being performed for him in Athens.

No one will kill you, anymore than if you were a corpse(2019) is a video in three variations that will change throughout the course of the exhibition irregularly and unannounced. A filmmaker claims fear staying alone in a pet cemetery and follows the gravedigger, who goes to pick up a corpse of a dog. Is this the case, or is it that the invasive presence of the camera lens perpetually employs childish excuses so that it pierces uninterruptedly through every private moment?

The need of recording everything through a camera, the fear of death and the human burial customs are being harshly judged by a dog that questions its own death and creates a confusion in quest of its immortality.

Finally, was it itself that was buried, the small white one from the fridge or a pillow?

Where the Stream Divides (2019) is a new constellation of sculptures by Malvina Panayiotidi. The artist is preoccupied with the way social structures have dealt with the occult, mysticism and paranormal phenomena historically. The current work explores the life and diaries of Eleni Boukoura-Altamoura (1821-1900), her tragic life and end. Being one of the most important artists in post independence Greece, very few works of hers remain. Panayiotidi, through a very personal research in which she has formed intimate connections to the artist’s past and remaining material, has composed a central sculptural piece of wax and iron that changes throughout the course of the show.

The expanded archive of the long-gone and forgotten material, as well as imagery generated by people is what haunts the world of Eftihis Patsourakis. Still is a new series of paintings that the artist has been eloquently making, shedding light on long-forgotten memories of people in Greece from photographs he has collected from the new home they have found: flea markets and street sellers that collect and offer to the next generations for new readings.

SERAPIS MARITIME is an entity that draws inspiration and makes work based on stories, facts and rituals shared by people that compose the workforce behind the various businesses as well as the trade and shipping activities of Piraeus, the port of the city of Athens. On the walls of the gallery are three diptychs under the title Liquid Soul, created by a series of printed jacquard weaved cotton fabrics, part towels they have produced for their fashion line that operates under the same identity. Carrying texts and drawings of spiritual purification, using a fusion of Christian and Energy Healing techniques as described by Magboo, a crew member SERAPIS interviewed onboard a ship in the Indian Ocean, they are juxtaposed with photographic prints made on elastic tech fabrics featuring photos shot for potential advertising language.

During the course of the exhibition SERAPIS, on a date to be announced and in collaboration with the Municipality of Piraeus and ‘Sea Days’ festival, is staging an iconic outdoor installation on a central monument of the city of Piraeus. An homage to the history of the port and in relation to the liquid element and all the workforce that define the power this port used to be and still is somehow through the changes it is subjected to. Through this gesture they aspire to a spiritual movement towards the future.