-from the mind of Nana Sachini -
If the artwork is the ultimate tangible result of a series of processes and decisions that depend on who, when, where and how and these are transformed into an artwork, then, the artist’s studio functions as a space-body in which all these processes occur. Then my main question that arises is whether the connection between the studio of the artist and the production of a work can be compared to the analogy of the ‘internal organism’ and its ‘external appearance’.
Note: Here we are not particularly interested in the healthy organism and good looks as valuable traits, since every organism and its exterior have particular characteristics, which even if they present themselves as problematic at first, they ultimately create and provoke something else that is interesting in its own right. During the presentation there will be a tour of the studio, where links will form between how I function within my studio and how the (my) human body works.
into the space-body...
✻ What does ‘storage’ mean and what purpose does the storage of older works serve? Are they for example like accumulated toxins that need to be removed? Is the fat deposit (healthy or not), necessary to hang on to in times of starvation? Or is it just in the way and can cause issues?
✻ Stuff and material that accumulates inside the studio - do they contain any nutritional value?
Or are they empty calories? At times, they feed and other times they hinder the procedure of creation.
✻ Where is the heart of the studio? Where is the brain? And where the vital organs? Are they topologically separate, independent?
✻ How do the arteries and the nervous system join together this organism that is the studio?
✻ Does the studio have a subconscious and if so, how does it make itself known?
✻ Does the studio have qualities or history that are inherited by the artist, and if so, what part do they play in the creation process?
✻ When an organ within the studio becomes dysfunctional, does it need to be healed or removed?
✻ How does the topology of the studio lead to solutions, movements, gestures and decisions?
✻ How do external factors that infiltrate the studio/body affect, if at all, the artistic process? A newborn child heard crying. A bomb that goes off in the street. The dead pigeon in the courtyard. The refugees who recently settled in, in the apartment above. The song of a neighbour and the sun casting shadows on the lawn.
open form is an open studio platform based in Athens, Greece.
The first iteration of open form will take place between the 28th of June and the 5th of July 2017. Every three months from July onwards, open form will invite 7 artists of various disciplines, living and practicing in Athens, to open up their studio and offer the public the chance at a closer look. A closer look into different research methodologies, processes of production and elimination, - meanwhile, also giving the chance to the artists to network with people from both inside and outside the artistic circle of Athens. open form joins the artists' private space with the public space, with the intention of inviting an in-between, a 'third space', to manifest where social interaction and knowledge exchange can happen.
The studio could be interpreted as an extension of the artist’s visions, illusions and hallucinations into the physical realm. In contemporary artistic practice it is a transitory space that manifests in numerous forms, constantly in flux between the virtual, digital and tangible versions of itself. open form understands the studio in loose terms and welcomes the individual artists’ interpretation of it. Artists are also free to decide their mode of interaction with the visitors - anything is welcome - a performance, a reading, a presentation, a tour, etc..
Nevertheless, open form sets 4 conditions for the artists involved:
1- the artist is present
2- focus is on process and not the artwork
3- priority is assigned to communication rather than exhibition
4- there is no completed work on display
home In ‘Principles of Art History’ (1915) Swiss art historian Heinrich Wölfflin, explains the evolution of painting from the Renaissance to the Baroque style, as a
“development from closed to open form”. 'Open form', he explains
“is characterised by a loose form”,
“a relaxation of rules” and
“the yielding of tectonic strength”, ultimately invoking a feeling of space
“beyond the edges of the picture”.
Wölfflin’s explanation of ‘open form’ is mentioned here to draw attention to how western art - since the Renaissance - has been pushing at the seams of the frame and encourage the viewer to reflect on the ways it still does.The frame can be read as a physical, as well as a conceptual restraint, or even a set of guidelines which operate as a limit to artistic expression. Essentially, most artists wish to exercise some kind of force against established structures and ways of seeing.
open form wishes to engage with art and its producers outside the structures and the means traditionally allocated for the consumption and the display of art, instead it suggests to look at the source of origin -the studio.
Polish architect and professor Oscar Hansen addressed to a significant degree the limitations imposed on architecture, society and art through his own work and studio workshops. Hansen established Open Form as a philosophy and a series of apparatuses to be applied to and not only include architecture, but also extend to urban development, social organization, sciences and art. Open Form theory’s function was to form links between human activities, their flux and their setting, while simultaneously responding and adapting to them. For example, Hansen envisioned the museum as a flexible and adjustable structure that evolves together with the dynamic and unpredictable organism that art is.
open form has taken Hansen’s theory as reference to construct a nomadic platform for the discourse of contemporary art in Athens. Nevertheless, it considers first and foremost as its main source of inspiration the unique characteristics of the city itself and the artists that inhabit it.
Nana Sachini, If This Purple Is Not Made For Your Purple, The Situation Creates Suspense, 2016, mixed media installation, 238x212x40cm, Courtesy of the artist and a.antonopoulou gallery