YOU CANNOT HIDE FOR MORE THAN SEVEN YEARS is the name for a public space in a private time. It is the name for a series of visual propositions of artists and architects to showcase on a single day. Without a name would something live? Naming had to do with survival? I think it was the thought of the extra day past the seven years, a single new day, on top of gone days, gone years.

THE INVITATION TO AN INTENTIONAL HIDE N ' SHOW DECLARATION suggests a 'single-day' show by artists and architects; a moral imperative to do with the meeting place of the artwork presented; a direct experience; works of art that tell you what is happening at the moment, the moment you see it. The single day show form deals not with duration but with time , it emphasizes the momentousness of the moment in artist's life; one moment is called HIDE, next moment is called SHOW; one moment 'these things never happened but are always', next moment 'these things happen but never were'. Now we need to invent reality . Either way, anyway, it is always about now, both the now in which it is being created and the now it is being seen.
IT WAS EVENING ALL AFTERNOON is a 'single-day' show presented by visual artist Malvina Panagiotidi on Saturday 16th of June, 2018.

PUBLIC SPACE IN A PRIVATE TIME by Vito Acconci January 1990
Public space is an old habbit; It used to be, you could walk down the streets of a city and always know what time it was; But then times changed, and time went away. Well, it didn't go away exactly, but it certainly did go out: time went out like a virus and spread through all those bodies walking the streets. Time aimed straight not for the heart but for the arm. Time came cheap now; Public time was dead; there wasn't time anymore for public space; public space was the next to go.
The words public space are deceptive; Public space, I assume , without thinking about it, is a place where the public gathers. The public gathers in two kinds of spaces, the first is a place that is public, the second is a place that is made public.
The establishment of certain space in the city as 'public' is a reminder, warning that the rest of the city isn't public.
The space that is made public began at its own opposite. This was a space that was never meant to be public at all; a royal space, or a presidential space, or a corporate space. An open public space like the piazza is a vast multi-directional space. People are dots across the floor; The space is public but the people in it don't function as a public; it needs a gathering point. To be seen and read as a public, the forms have to form a circle; as if around a point; or they have to form a line
as if toward a point; or they have to blend together so they form a place themselves. When 'space' is embodied concretely enough to be 'sensed' it has been made distinguished from the places surrounding it. Either it is a 'historical place', a preservation or recreation of the place as it once was; or it is a 'virtual place' the importation of another place far away from this one in space or time. 'Historical space' turns the private time of the family into the public time of the tribe.
Time has gone by , but it can 't go on. 'Virtual place' transports the virtual place of the foreign into the private space of the home. A 'virtual place ' puts the place into the field of geography. You're in place but you can 't go from place to place. This is not history but myth, not geography but only a travelogue: the perfect environment, that can't be spoiled by further time and by other places encroaching on it. You pay for the fabrication of a past or of a future, for the idea that this is how the place should be and not merely how it is. You pay too for the proximity of other bodies. These are places with names, like the Knitting Factory, that flaunt the subversion of places that once had a history of their own; places with names like Deviate, that encourage the perversion of inhabitants who once had a philosophy of their own. But the choice of inside or outside, of private or public is out-dated now; you never have to get up out of your seat, you never have to leave home. The public space of the city is the presence of other bodies: public space is an analogue for sex - either it's a composite of objects of the desire for sex, or it's a composite of images that substitute for sex.
Time is fast and space is slow. Space is an attempt to place time and understand time. The electronic age obliterates space, and overlaps places. The plaza, bounded by buildings and owned by a corporation, is a nostalgia for 19th century nationalism. Public space, in an electronic age is space on the run. Public space is not space in the city but the city itself. Not nodes but circulation routes; not buildings and plazas but roads and bridges. There's no need for a person to person
relationship, since you already have multiple relationships with voices on your radio, with images of persons in store windows and on billboards. The electronic age and the age of AIDS become intermixed in an age of virus, whether the virus is information or disease. Each person becomes too infected, either with information or with disease, to be with another. You come to visit, not to stay. The electronic age redefines public as a composite of privates. A single person has access to all the information of the city and becomes himself/herself, a self-sufficient city ; that self-contained entity is easier to contain now from the outside, easier to control.
The mix of information is accidental. The propaganda from one station weaves in and out of the propaganda from another station, and another. One billboard image peels away only to reveal behind it another image which comes into collusion then with the unpeeled part of the upper image. Public space is the air space between bodies and information and other bodies.
The building of spaces in the city has already been assigned to established disciplines: the vertical is alloted to architecture, the horizontal to landscape architecture, and the network of lines between and through them in engineering.
The city has all the design it needs. For another category - 'public art' - to have a function in the design of city spaces, 'art ' has to be brought back to one of its root meanings: 'cunning'. The end is public, but the means of public art might be private; the end is people, but the means might be individual persons.
The model for a new public art is pop music. Music is time and no space ; music has no place, so it doesn't have to keep its place, it fills the air and doesn't take up space. The music of the 70's was punk; the music of the 80's was rap. Each of these types is music that says: you can do it, too. The message of punk was: do what you can do and do it over and over, until everybody else is driven crazy. The message of rap is: if something has been done better by somebody else, who had the means to do it, then steal it, and remix it, tape is cheap and air-space is free. The message of punk and rap together is: actions speak louder only because of words, so speak up and talk fast and keep your hands free and your eyes wide open and your ear to the ground and be quick on your feet and rock a body but don't forget to rock a culture, too.