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Les Amis d’Analix Forever

janvier 14, 2019

43) Denis Fizelier

Merci à Denis Fizelier, grâce à qui chaque jour, chaque nuit, L’ART EST VIVANT !

Denis Fizelier aime Galeristes. C’est là que je l’ai rencontré. Et rencontré à nouveau. Séduit par Proust, sa tombe bleu twitter, les marrons, les madeleines… et surtout, par la Recherche du Temps perdu. Que l’artiste Conrad Bakker est en train de reproduire pour lui, édition 2/10, en bois peint, grandeur nature, à la main. La réappropriation du temps perdu passe par là : donner du temps. Et de l’attention. Pour le faire revivre autrement. Oui, l’art est vivant !

 

Publicités

Les Amis d’Analix Forever

janvier 11, 2019

42) Alain Brébant & Alain Rinaldi

Merci à Alain & Alain de leur fidélité depuis janvier 2012 ! Sept ans ! Nous avons fait connaissance à l’exposition « Art is Fashion »  qu’Analix Forever présentait à la galerie Taïss rue Debelleyme — Alain & Alain aiment les portraits et avaient été séduits par ceux d’Isabelle Chapuis. Dernière acquisition en date : cette photo exceptionnelle de Guillaume de Sardes, qu’Alain Brébant a rencontré lors d’une soirée invitée par et chez Jean-Paul Chatenet. À propos de cette photo, récemment exposée à la MEP, Guillaume de Sardes écrit : « Nous sommes à Venise où nous avons passé le Nouvel An. Nous venons de nous lever et de descendre pour le petit déjeuner. Elle s’installe sur une banquette face à la fenêtre, les yeux encore rougis par une nuit trop courte. Je vois la lumière, la composition, les couleurs. Tout est là, le hasard fait se rejoindre deux tendances opposées : la photographie de l’intime et la photographie-tableau. »

La photographie de l’intime et la photographie-tableau : les portraits que, justement, aiment Alain & Alain.

©Guillaume de Sardes

JANET BIGGS: LIKE WALKING ON MARS

janvier 10, 2019

Museo de la Naturaleza y el Hombre, Santa Cruz de Tenerife, Spain
Museo de la Ciencia y el Cosmos, La Laguna, Tenerife, Spain
Until 14 January 2019


Janet Biggs has been travelling for years around the world, riding camels in remote deserts, navigating on ice in the Arctic, exploring the earth’s depths in salt or sulfur mines — harvesting images, impressions and sounds. After the harvest, the artist hides for months in her studio in Brooklyn, works with composers, scientists, dancers, astronomers, then creates and merges sounds and images which witness humanity’s seemingly endless capacity for hope and their desire for new possibilities. As stated by Walter Benjamin, the experience and the ability to transmit it are linked; hence Biggs’ necessity to experiment in order to transmit. This necessity led the artist, to personally experience nomadism with the local people of some of the most geopolitically unstable regions of the globe, as well as experiment with scientists as they training in Utah for life on planet Mars, in a future closer than we think.

Like walking on Mars? Walking in time with utopia as companion “walking as a freedom, as a subversive practice, as a visual art practice and as a performance“ (Clare Qualmann). Biggs’ art is walking art and her images are moving images, and whether walking on Mars or walking from Yemen to Europe, it is always walking, dreaming, persevering in hope.

Mercedes Pinto (1883-1976), the great Canary Islands’ poet wrote along similar thoughts: “Your country is the one who gives a hand to whom is walking” (La patria es la que tiende la mano al caminante).

Pinto’s poem and the song of hope sung by the girl at the end of Weighing Life Without a Scale, seem to embrace the possibility for happiness, echo to each other through time and space.

The work in Museo de la Naturaleza y el Hombre, Weighing Life Without a Scale, confronts two deserts, two populations, two ways of expressing our human desire to go, wherever elsewhere, to find a better world, to survive. The confrontation of the antithetical, miserable for Yemeni refugees, hyper- technological for scientists aiming to colonize Mars, underscores the fact that the desire to go and find another land is intrinsic to humanity: whether escaping an existing location or chasing something, we are looking for the unknown.

So is Janet Biggs, and for the artist, our earth is not enough. The Museo de La Cienca y El Cosmos offers Biggs a unique opportunity to express her fierce desire to go further, to go future, and her conviction that innovation, desire, and curiosity exist no matter what the given resources or support systems. Through the giant telescopes of Tenerife and La Palma, Biggs seems to interrogate and listen to the space – to the Space Between Fragility Curves, a fragility curve being the statistical analysis of a structure’s ability to withstand a seismic shift. Three humankinds intertwine here: Yemeni refugee children from Camp Markazi in Djibouti, possible future colonists to Mars, and a robot who creates music inspired by Biggs’ video images. Can a musical robot have humanity? Does it augment our human-ness, or threaten it? How to withstand these seismic questions? Confronted by those essential issues, the artist navigates between despair – perhaps the only “reasonable” posture – and hope: the only possible position – and action.

Music always holds a poetic, soothing, overwhelming, at times hypnotic role in Janet Biggs’ videos. In Seeing Constellations in the Darkness Between Stars an amputated drummer uses a prosthetic arm to play, while other robots, Mars exploration rovers, move back and forth on barren ground. While at first sight the otherness and solitude of the two compositions seem the major link between them, it soon appears that the very concept of prosthesis – of augmented humanity – works like as an umbilical cord between the two.

Biggs, as a humanist, a feminist, a creator, an explorer of strangeness, takes us by hand and leads us walking through her own brain, her own worlds, and through her works, she makes this world accessible to all viewers – universal.

Barbara Polla

And to know more about the exhibitions’ projects, read Lilly Wei’s article, here

Like a drawing of the night –

janvier 9, 2019

Pavlos Nikolakopoulos is a visual artist, painter and sculptor. One of his most masterful works is entitled SILENT PEACE: 23 immaculate blades that seem to make the wall they are leaning on, bleed.

©Pavlos Nikolakopoulos

But he is also a creator of words. Or more precisely of Logos. Words and meanings. He thus organized in his studio the first night of the Logos in Athens, the Night of the Epiphany. Epiphany: something appears.

Nikolakopoulos has invited about 30 intellectuals, mostly Greek and speaking in Greek, and some « foreigners »: French, Turkish, Swiss. The eclectic participants spoke, proposed images, created sounds, articulated concepts, presented ways of seeing the world. Powerful « statements ». They all interacted with each other, exchanged, talked, appreciated and listened in a silence of gold. The organization’s fluidity was impeccably elegant thanks to its freedom: no pressure, no rigidity. On this occasion, Nikolakopoulos had also invited other artists to show some of their works in his studio. Welcome, open, relate, reveal. Nikolakopoulos ensured everyone had their own space and time. This is why he has created much more than a meeting of intellectuals. He has created a logic. By experimenting a new way of creating with words, he created himself too. This night will remain one of those ephemeral works of art that no one will forget: like a drawing of the night. A work of art, a curatorial and critical artist statement that was as generous as it was demanding. Beyond his plastic works, Nikolakopoulos has now a palpable and strong position. A position that gets to him like a powerful boomerang restoring the energy he gave without counting to create the night.

Pavlos Nikolakopoulos, créateur de Logos

Pavlos Nikolakopoulos est un artiste plasticien, peintre et sculpteur. L’une des ses oeuvres les plus magistrales s’intitule SILENT PEACE : 23 lames immaculées qui font comme saigner le mur sur lequel elles sont appuyées.

Mais il est aussi un créateur de mots. Ou plus précisément, de Logos, c’est-à-dire de mots et de sens. Il a ainsi organisé île première Nuit du Logos à Athènes, dans son atelier, la Nuit de l’Épiphanie. Épiphanie : quelque chose apparaît.

Nikolakopoulos a ainsi invité une trentaine d’intellectuel.le.s, un groupe éclectiques, des grecs pour la plupart et s’exprimant en grec, et quelques « étrangers », français, turc, suisse. Tous sont venus, ont parlé, ont proposé des images, des sons, des concepts, des manières de voir le monde, des « statements ». Tous ont interagi, les un.e.s avec les autres, ont échangé, parlé, apprécié, écouté dans un silence d’or. Aucun stress, aucune rigidité : la fluidité due l’organisation était impeccablement élégante de par sa liberté. Qui plus est, Nikolakopoulos, pour l’occasion avait également invité les oeuvres d’autres artistes que lui-même dans son atelier. Accueillir, ouvrir, mettre en relation, montrer des oeuvres, faire en sorte que chacun ait son espace et son temps : Nikolakopoulos a créé bien plus qu’une réunion d’intellectuels : il a créé une logique, il a inventé une nouvelle manière de créer avec des mots, il s’est créé lui-même, aussi. Cette nuit restera l’une de ces oeuvres d’art éphémères que personne n’oubliera : comme un dessin de la nuit. Une oeuvre d’art, un statement d’artiste commissaire et critique, aussi généreux qu’exigeant. Une position, aussi : Nikolakopoulos a désormais, au-delà de ses oeuvres plastiques, une position palpable, évidente, forte. Une position qui lui revient comme un puissant boomerang lui restituant l’énergie qu’il a donnée sans compter à créer la nuit.

Jean, il est où le vent quand il ne souffle pas ?

janvier 7, 2019

Jean tu étais cher à tous ceux qui ont eu le privilège de te connaître — moi…
Tu avais fait ma toute première photographie comme politicienne, à la Jonction ; nous étions allés ensemble à Cartigny, et suivi les traces des sangliers au bord de l’Arve ; avec Paul Ardenne, nous avions montré la série Sarah on the bridge à HEC à Paris dans l’exposition « Economie humaine » et tu étais venu au vernissage ; tu t’intéressais au travail de Guillaume Varone que je montre et tu lui avais dit de venir te voir ; tu m’avais récemment montré tes « Arbres à loques » et nous avions parlé de les montrer dans ma nouvelle galerie… Et tu es mort, en photographiant ces arbres, ces arbres censés guérir. Ton âme est restée dans la forêt, j’imagine, et aidera les arbres à guérir ceux qui viennent à eux…

Tu m’avais envoyé les liens vers les émissions de France Culture parlant des arbres guérisseurs…

Et, le 24 décembre : « Celle là est pas mal non plus. C’est le pendant scientifique à la magie de l’arbre. Mon but c’est de traduire tout ça avec des images. »

Et puis, j’avais fait cette interview de toi, pour Les Quotidiennes, dans une série de portraits d’hommes que l’on m’avait demandés pour l’été 2007 :

Jean Revillard

« La mer « existe ». On peut la toucher. En même temps, l’eau n’a pas de forme propre, c’est à dire qu’elle les prend toutes. Cette double nature de la mer, matérielle et informe, explique pourquoi tant de cosmogonies placent un océan à l’origine des origines » »
Erik Orsenna, Portrait du Gulf Stream

Jean Revillard, c’est Rezo à Genève, la meilleure agence de photos de presse de Suisse. Après avoir étudié la photographie à Vevey, puis l’histoire de l’image et du cinéma à Dublin, Revillard revient à Genève et commence par portraiturer les politiciens dont j’étais à l’époque, puis monte un magnifique projet de mémoire vivante : il photographie tous les habitants de Cartigny et expose leurs portraits en plein air, devant chez eux ou dans les champs qui entourent le village. Je l’ai accompagné avec passion, aussi quand il s’est mis à suivre les traces des animaux, en ville (les sangliers descendent en hordes du Parc Bertrand, la nuit, pour aller s’ébrouer dans les glaises du bord de l’Arve, en pleine ville) et au bord des autoroutes, dans ce «tiers paysage» protégé parce que les oiseux de proie ne s’y risquent pas. La photographie représente pour lui ce lieu de rencontre privilégié et d’interactions continuelles avec l’autre, un espace de liberté que surpasse seulement la mer. C’est pour cet espace-là que Jean Revillard le marin disparaît parfois, pendant des mois ou des années, pour revenir ensuite, buriné, caméra au poing et pellicule dans la poche, rôder entre Plainpalais et les Pâquis.

Jean, tout d’abord, à quel groupe te sens-tu appartenir ?
 À celui des aventuriers.

Tes trucs pour réussir ? Toujours tenir compte de la 3ème dimension. D’ailleurs, plutôt que de réussir, je dirais que je me déplace dans l’espace : je ne vais jamais de a à z sans dévier, donc d’une certaine manière je ne réussis jamais rien, en tous cas pas par rapport à mon objectif de départ – mais j’ai par contre un vrai espace d’existence. Les lignes droites entre a à z, ce n’est pas pour moi. C’est pour cela que j’aime la mer: tu ne vas jamais en ligne droite, tu es dans un espace virtuel, la réussite c’est quand à l’arrivée, tu n’es pas mort. Ceux qui nourrissent par trop l’obsession de la réussite linéaire finissent par tourner en rond.
Et puis, je fonctionne de manière empirique, je trouve des solutions, je me mets en disponibilité par rapport aux autres. Par exemple, tu arrives chez moi et tu me demandes, il est où le vent quand il ne souffle pas, et tout de suite, j’abandonne tout ce que je suis en train de faire et je me passionne pour ta question…

Tes rencontres déterminantes ? En fait, enfant, j’ai eu beaucoup de familles, toutes de très grande qualité : il n’y avait pas une personne, une famille en particulier, mais tous ces gens qui s’occupaient de moi, dans ce village très intéressant qu’est Dardagny… Je me nourris de chaque rencontre, au quotidien : Luc Chessex, Paul Bowles, des livres aussi, Kerouac, London, Slocum, et finalement, la mer. Toujours déterminante.

De quoi est tu fier ? En fait, je commence tout juste à être fier, par exemple de Rezo, mais aussi de ce que je pense ou dis, d’oser désormais exprimer des avis personnels, de pouvoir combattre et convaincre. Et je suis fier de ma relation avec Flora, de notre construction amoureuse et de la séduction perpétuelle qui nous lie…

La dernière action dont tu est fier ? Trois fois par an je vais à Calais pour suivre des migrants afghans dans leur quête pour passer en Angleterre, un travail photographique qui me fait renouer avec ce que j’avais fait à Cartigny.

Ta valeur prépondérante ? La disponibilité d’esprit. Oublier le calcul.

Une recommandation pour tous ? Pour vivre heureux, il faut se créer son propre univers, cultiver son originalité, avoir et parfois réaliser des idées folles, mais surtout les partager… se poser des questions en permanence et rester fidèle, à ses amis, à ce qu’on pense, à soi-même.

Et un mot pour les femmes ? J’aimerais que vous soyez plus authentiques, plus en accord avec vous-même et que vous osiez davantage sortir de votre propre plan. Si souvent, vous êtes à la limite de faire un truc génial mais vous n’osez pas, pour les plus mauvaises raisons. Il faudrait que vous soyez plus solidaires avec celles d’entre vous qui osent, justement. Et puis, lâchez, lâchez prise…

Un mot pour les femmes : Flora, dont tu me parlais dans cette interview et Jeanne, votre fille que tu adorais et dont tu me parlais encore avec tant de fierté en décembre. J’espère que vous lirez ce billet, Flora, Jeanne. J’aimerais vous embrasser et pleurer avec vous.

2019 est en marche ! WALKING !

janvier 3, 2019

Marcher : une attitude, une position, un message et une valeur – une definition de Herman Bashiron Mendolicchio, éditeur de interArtive, coéditeur avec Yannis Ziogas et Stella Sylaiou, du projet special walking Art / walking aesthetics.

Nous sommes alors allés marcher à Perama, ancien bidon-ville où j’ai vécu dans les années 1960, désormais banlieue d’Athènes, Christos Panagos et moi. Marcher et nous souvenir. Perama est mon passé lointain, mon présent et mon futur proche ; les souvenirs de Christos Panagos, eux, sont liés, entre autres, au groupe de musique LowBap Active Member et à son ami Kostas Makrinos. La mémoire du corps est activée par la marche : venez avec nous, à Perama… 2019, année de la marche, année grecque, année du cochon de terre, des énergies joyeuses, let’s go walking! And here we are, in the creative and mindful space between one step and another » : SHARING PERAMA, WALKING MEMORY. Merci Christos.


SHARING PERAMA is an ongoing project in Greece that aims to convey art to the people of Perama, in the public space, with the background consideration that if the arts’ goals and potential are not to change the world, art does have the potential to open and change our gaze, to modulate our feelings about the world and render it more viable for all of us. The artist we have chosen to concretize this project is the Scottish, London-based post-situationist visual poet Robert Montgomery, who proposes light poems in the public space, throughout Perama and more.

Perama is a former slum in the outskirts of Athens, settled around the development of the shipyards between World War 1 and World War 2. Perama was an extremely poor neighborhood until the 90’s when more sustainable construction started, but was hit again by the economical crisis of the turn of the Century, with major subsequent unemployment and social problems. In order to implement the light sculptures by Robert Montgomery in Perama, we follow multiple approaches, among which “walking Perama”. Both authors of this paper have specific, strong memories about Perama, which are inherent to the process of SHARING PERAMA. Polla lived in Perama in 1966-1967, before and during the coup by the Colonel Junta on April 21st, 1967. Panagos has been working in Perama along with the movement of the musical activist group “Active Member” around the turn of 2010’s.

In this paper, we consider how “walking Perama” may deepen our understanding of the space and conceptualize the reception of Robert Montgomery’s art in Perama. Walking for hours and days through the city, evoking memories that are essentially bodily, recalling memories meant to serve as a basis to construct a future becomes a live experiment that enhances our ability to transmit and share images, sounds, perceptions, feelings, and ideas.

SHARING PERAMA

This project is in memory of the early years of the construction of Perama, in the sixties, when Polla spent a winter in the growing “favela” – indeed it was a slum at that time – and in tribute of Georgios Dimitriadis, a Greek orthodox father who took care of Perama’s inhabitants, in particular of the poorest of them, and of the children for whom he had created a shelter where they were served meals, care and love. Georgios Dimitriadis was a humanist of the everyday life, a man with a social vision for both present and future, never tired to give, to help, to find solutions, to distribute hope. Polla was seventeen years old at that time, spending a year in Greece with her family, in a journey organized by her father, who was a convinced philhellene. She studied Greek History, Greek as a language, helped in the shelter, discovered the shipyards. It was a most serene wintertime, but the following spring was obscured by the coup of the Colonel’s military Junta, on April 21st, 1967. Georgios Dimitriadis was immediately imprisoned and the perception Polla had of Perama deeply changed, as did the Greek reality. Fifty years later, Polla comes back to the slum of her teenage, that in the meantime has become a city. Together with image-maker Christos Panagos, Polla goes “Walking Perama”, so as to root the current assay and the whole SHARING PERAMA project in their shared walking experience.

Perama circa 1960’s. Post card

Mental Memory and Body Memory

Memory, a crucial aspect of our lives, is generally viewed as a mental phenomenon, a faculty of the mind whose function is to record, conserve and recall information, essential for learning and for civilizations to evolve. But memories also reside in the body. This is particularly the case for memories of spaces. Furthermore, sensorial memories such as olfactory or taste memories are probably the strongest of all.

Greek writer Tilemachos Doufexis-Antonopoulos defines memory as a pending action: “Memory (…) dives into the unconscious and recovers what is repressed; what is hidden; what was defeated and had to sink into oblivion, … revealing something unknown yet familiar… the demand for some future, for a geometry of the intangible.” Doufexis-Antonopoulos further states that “The method and object of art is the pending process of a not-yet-finished-world, a not-yet-finished-form, the memory of the experience of the future, memory as a pending action.” Walking is also a processing experiment of a not-yet-finished-world, in a not-yet-finished-form, the memory of an experience of the future, memory as a pending action, as a possible “walk-through”.

The city of Perama is constructed in a very particular way, between mountain and sea, with no throughway. Once you enter the city, coming from Athens, Piraeus, Drapetsona, Keratsini, you have to take the same road to go back out of the city. There is no “emergency exit” – except the sea. The memories one holds from that space are thus very contained. Polla has memories of the streets of Perama in her feet, the dirt roads, the clay sidewalks, the bumps, the sand; Panagos has memories in his ears, from studio recordings to open-air concerts; both remember the smells of Perama, flowers in the spring, seawater in the wind from the shore, mixed with the industrial smells.


Panoramic view of part of the city of Perama and of the “Free Zone”, 2018 © Christos Panagos

Walking through Perama also allowed the authors to find back the childcare shelter that was built in the first half of the 20th Century on what has become since Elefterias street. The shelter has become a Kindergarten and is still active today.

Walking as an experiment

According to Walter Benjamin, the experience and the ability to transmit it are linked; by “walking Perama” we experiment the city and become able to share it. We share micro-experiments that pave the way to new perceptions. Polla is walking, recalling memories from her feet and body; Panagos is making images. The fact that we share our respective micro-experiments of walking by walking side by side makes them more “sharable” with others. As stated by Jacques Rancière, quoted by Thierry Davila in Marcher, créer…, “The real needs to be fictionalized to be thought”. By “walking Perama”, we create a new reality, we rethink the psycho-geography of the space, its stories and history. Along with Clare Qualmann and walkwalkwalk, we live “…walking as a freedom, as a subversive practice, as a visual art practice, and as a performance … a practice that begins with a re-examination of the places that you think are familiar – a kind of anti-derive, research method for developing text, installation, film, audio and performance works.”

The walls have been canvases in the streets of the cities forever, canvases of the immense open-air museums that the “polis”, whether mega- or micro-, offer to their people. The memory of walls is a very specific one, one that many artists have used, cultivating the appearance-disappearance-reappearance flux that city walls constantly offer to our gaze. With his texts and installations, Robert Montgomery will invade the walls of Perama.


© Robert Montgomery, 2017, mockup for SHARING PERAMA – a memory of the future to come

As part of our walking experiment, we also entered for the first time spaces we never were before, as the so-called Free Zone, generating new memories and new images that defy time. It was like entering through a hidden portal for traveling to the past: here the tools, the cranes, the ships, all are from the 60’s and even the workers look from another time. We live a very strange feeling of time, of the past but a past that pretends to be in the present. We wonder how the workers knew, the workers of today, to repair these boats of the past. May be as we have “walking memories” – they have “sailing memories”.

New, old, ancient… those become blurred notions that we have to reinvent. We feel like walking in a “collage”: according to Turkish artist Nilbar Güreş, “We are Walking Collages“. 

We are walking in time.


Perama, inside a shipyard, 2018. © Christos Panagos

Walking in time with utopia as companion

As Davila states in Take the time, “The time passed walking, the duration of displacement, is the very medium, the very material of the action of the pedestrian, the ferment of the plasticity of his movement.” The time is what the walker works with.

The time for walkers in Perama seems elongated in a similar way as the city itself. The time here has also one way out only: the way back to the past. Shipyards are relics of the past; the “Terma” (literally, the end of the road), although still active, the ships, the industries, the churches, the shacks all look like relics of the past. And whenever one tries to film something in the present, in Perama, the resulting film will always refer to the past. We travel to the past when we are in Perama – a past that, unlike in other places in Greece, does not particularly refer to the glory of Ancient Greece, even if the hills still tell about the battle of Salamis, the shadow of Xerxes’ throne and the victory of the outnumbered Greeks. A victory gained, in those remote times, thanks to the narrowness of the natural harbor of Salamis, which was as narrow as the city of Perama still is today.Perama is showing its short term past rather as decay than as glory: here life plays in decay. At the end of the road, a small, dirty beach faces the military boats resting on the other side; elderly people and children bath here despite the prohibition to do so and walk on the algae-covered pebbles together with their dogs. The evidence of the decay that occurred in Perama over time, despite the new constructions, makes us strongly aware of the decay of our future. We are walking from past to future with utopia as the only way for survival. Concrete utopia may well emerge from Montgomery’s works, creating new perceptions and virtual spaces for artists to gather and create, as did, once upon a time, Active Member, when the sound of music and its rhythm took over Perama. Concrete utopia however also emerges from today’s political dreams and creations such as the newly created open-air theatre above Terma or the renewed open-air cinema near the entrance of Perama.


Perama, 2018. © Christos Panagos


Perama, open-air Mikis Theodorakis Theater, 2018, © Barbara Polla

Walking like dreaming

Walking and dreaming are very similar activities, although this does not seem so at first sight.

We walked through Perama. We did not stroll. A one-way street, even with meanderings, does not incite to stroll – rather, it encourages a rhythmical walk. Walking is dancing. We walked – we danced – at the rate of dreams: before we were able to capture what we saw as a complete picture, as an overview of the surroundings, it was gone, and the images had turned back into the unfathomable folds of our memories. In dreams as in city walking, only few details remain, very sharp though. Indeed, the attention to and the persistence of details is a characteristic of dreams widely used by Freud in his theories of dream interpretation. Walking art is an art of the detail.

Furthermore, walking and dreaming induce physiological variations in the body’s tone and rhythm, both physical and mental. It is well known that rocking – whether in the arms of an adult when we are babies, or by our journeys in trains or cars as adults – induce cerebral slow waves, and that these slow waves are sleep-inducers. Walking to a given, constant rhythm may be compared to a “self-rocking motion” – and although it obviously does not induce sleep it certainly favors daydreaming and promotes inspiration. The extreme of that inspirational daydreaming may well be sleepwalking. Panagos (who was a sleep-walker as a child) conceives his scenarios walking: “scripts come to my mind, they come out of nowhere…”. That “nowhere” hidden somewhere in the folds of our brain.


Perama, detail of a street. 2018. © Christos Panagos

Another strong link between walking and dreaming is the constant impression of strangeness. Images of dreams are recomposed from millions of images stored somewhere in our memories. “Walking Perama” – as would also be the case for walking through any unknown city, or city not walked for a prolonged time – leads to the recollection and re-composition of a mixture of images, old and new, that generate a similar feeling of strangeness as dreams may generate. Everything looks different. Walks, as dreams, create unseen worlds. That square was more crowded once upon a time, that dog skinnier, those stones not as sharp, that dust less volatile.


Perama, door open to light . 2018. ©Nicolas Etchenagucia

We were also walked as a bigger group through Perama by the theater-director Dimitris Bambilis. Bambilis, originally from Nikea, has a deep long-lasting knowledge of Perama; he participated in many walks (some thousand kilometers through Athens in the last ten years) and invented the concept of “pedifestation”. He has his groups walk as small columns, and in silence. After an hour silent walking in a group, with a group, the return to sharing experiences by voice sounds like an awakening from another world.

Sharing walking

Walking together creates bonds beyond reality and induces sharing of fantasy-inducing slow waves across brain borders. Walking is a drift. The authors of this assay shared a drift into their different, though convergent memories about a specific place and generated new ones: memories of a possible future. A drift into interstices that are usually unseen and unheard when you cross a place by car, public transportation or even bikes. A drift in a world of utopia, where trees grow on the hills of Perama, the seawater is crystal-clear, the kids of Perama are playing with golden sand on the beach and invent submarine science, Robert Montgomery’s pieces floodlit Perama’s tongue on land and foreign language poetry becomes the shared memory of beauty. Through walking together, looking, hearing, smelling, dreaming, these utopias became part of the authors’ shared experience of Perama’s space, a shared experience that may serve as basis for future realization: a cinematographic-like experience that could soon evolve into a film about Perama, possibly entitled “στον κήπο του παραδείσου”.

To know more, click here


Walking is not a new practice, but the act of walking is reclaiming a different and more balanced ecosystem. The choice to develop walking art practices is first and foremost an attitude, a stance, a message and a value. What would be nowadays the messages and values of a walking practice? Where does the walking practice stand in the relentless evolution of technology and mobility? How can contemporary art contribute to a re-discovery of walking practices with new strategies, visions and methods?

Message from the editors

The papers and projects presented in this issue are exploring various approaches to walking. Walking has gained a contemporary importance as a medium that incorporates the body, the landscape and a number of disciplines related to them. Walking either as a medium or a form of artistic praxis is an approach that will keep developing, assimilating and expressing a broad spectrum of the human experience.

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2018. ©Nicolas Etchenagucia

SILENT PEACE

janvier 1, 2019

© Pavlos Nikolakopoulos

Analix Forever Moving Art has moved. We are now 10 rue du Gothard, 1225 in Chêne-Bourg, Geneva, in Switzerland and in the world. To find us : barbara.s.polla(@)gmail.com. For a few months the gallery and the artist residency will share the same space, Atelier AMI, until the new gallery space opens, amid ongoing works. Opening hours ? Days and nights, weeks and week-ends, indoors and outdoors. Just ask.

The first exhibition is entitled after the master piece by Pavlos Nikolakopoulos, SILENT PEACE, a musical, violent, magical sculpture. An iconic work, and an iconic title. SILENT PEACE also features a new version of DEBUT, the last exhibition in the former space, as well as photographs by mounir fatmi and Guillaume de Sardes, the mace by Groupe Mandar that we can’t do without and paintings by AMI referring to Greece. Indeed, for Epiphany, we will all meet in Pavlos Nikolakopoulos studio in Athens, for a LOGOS NIGHT. More to come on that, and about our project in Greece, SHARING PERAMA.

Best wishes for 2019 to each of you. Be it Epiphany every night !

 

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