[DAY 46],Tania Bohuslavska, Gala's Music, 2017

Touch is one of the first senses we experience even as fetuses in the womb, followed by becoming our means of getting to know the world. It is unnegotiably of vital significance, an innate demand and a primary function inextricably linked to perception, in addition another way of seeing. By activating feelings of love, reassurance, tenderness, support, and empathy, touch is one of the most fundamental indicators of communication. However, the gesture of contact is often restricted or prohibited, indefinitely interrupted, or postponed for a while. According to the British poet John Keats, though, "touch has memory" as our deeper stories are imprinted on the body, which is a reservoir of knowledge and experience. Even when it is absent, the marks and memories it leaves remain resilient and incomparable over time. Tania Bohuslavska's video, presented at the 2nd Thessaloniki Queer Arts Festival in June 2019 at the MOMus-Experimental Arts Center, praises the ritual of contact and the emotions it evokes. [Tania Bohuslavska, Gala's Music, 2017, video, 05:28 minutes]

[DAY 15] Vassilis Constantinou, Untitled, 2015

A house’s interior is usually structured on the base of personal taste, of the current or a former tenant, in order to serve a condition of functionality, stability, security. In this staged self-portrait Vassilis Constantinou focuses through such an environment somewhere vaguely outside the curtain, as an observer on the line of an existent as well as psychological limit. How defensive can we become safeguarding the limit between the inside and the outside? How available are we to feel what is going on outside the closed circle, outside tradition, outside the frame, outside the constructed Cavafian “walls”? To what extent have we finally ignored the capability of photography, that seems destined to serve the faithful representation of the real, to outline also internal transition, turbulence and doubt? [Vassilis Constantinou, Untitled, 2015, From the series "Family Frames", MOMus-Thessaloniki Museum of Photography]

[DAY 47] [MAY DAY] Ksenia Ender, Untitled (flower pattern), mid 1920s

Ksenia Ender (1895-1955) was an artist who glorified nature. Like her three siblings Boris, Maria and Yurii, studied art in St. Petersburg. In the 1920s she worked as a research assistant in the “Organic Culture” department of the State Institute for Artistic Culture in Leningrad and experimented with space under the supervision of her teacher Mikhail Matiushin. In 1924 she participated at the 14th Venice Biennale. She was very interested in the organic forms, colors and light and depicted nature as a constantly changing organism. She liked to work for decorative panels and used patterns with organic themes. An example of her engagement in decoration and graphic design are these repetitive flower patterns made with the collage technique. [Ksenia Ender, Untitled (flower pattern), mid 1920s, MOMus - Museum of Modern Art – Costakis collection]

Vilató Javier, Untitled, 1948

The dark room and the night view outside the open window are transformed by Javier Vilató into a setting of dream and fantasy. The artist explored the innovations and upheavals of cubism with traditional representational models close to Uncle Picasso in Paris. The solid contours and the monochrome palette compose the objects, the furniture and space, conveying poetic symbolisms for the human presence or absence. The boundary between the imaginary and the real world is changing, the balance of perspective is lost and space is flowing with the reversal of the meaning inside and outside. [Vilató Javier (1921-2000, Spain), Untitled, 1948 Oil on canvas, 41x33 cm Donation of Alexandros and Dorothy Xydis to the Macedonian Museum of Contemporary Art (1999), MOMus - Μουσείο Σύγχρονης Τέχνης / Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections]

[DAY 42] Margarita Lymperaki, Still Life, 1949

Our home, our personal space functions constantly as inspiration for artists. Such an image of memory, escape, loneliness and personal observation is depicted by the writer, Margarita Lymberaki in her artwork Still Life. Few everyday objects placed in space creating a composition realistic and familiar such as the characteristic images that the writer narrates in her literary work, Three Summers (1946): “I remember a few things from our old house. It was somewhere near Lycabettus and had a terrace overlooking Faliro. My father lived with us and we had a greyhound called Dick. I also remember two Chinese vases in the two corners of the hall. Nothing else". [Margarita Lymperaki (1919-2001, Athens), Still Life, 1949 Gouache, 26,4x24 cm Donation of Alexandros and Dorothy Xydis to the Macedonian Museum of Contemporary Art (1999) MOMus - Μουσείο Σύγχρονης Τέχνης / Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections] 

[DAY 44] Christina Calbari, Custody, 2002

Home is the protected par excellence place of family, where custody is practiced at all times, where predispositions are forged, characters and ideologies are cultivated, where symbols and icons dominate. It is also the place where sometimes invisible bars rise, useless limitations appear, and big compromises take place. It is a protected place from which one might sometimes need protection. [Christina Calbari, Custody, 2002, From the series «Short Stories of Entrapment», MOMus-Thessaloniki Museum of Photography].

[DAY 38] Athanasopoulou Lena, Extended Memory I, 2009

Lena Athanasopoulou photographically tests, our memories of landscapes in her Extended Memory series. She sets her lens not on existing landscapes, but on factory manufactured imagery of fairy tale-ish and idealized nature, which she found in one-pound stores around London. And so, landscapes of weirdness, eerie, and magic emerge. Her intention is to show how different our gaze and memory can be, depending on where, when and how we stand in front of something we miss - even if we have never seen it. [Athanasopoulou Lena (1979, Greece) Extended Memory I, 2009 Mixed Media, Archival Inkjet Print 1/3, 68 x 68 cm Donation of the artist (2010), MOMus - Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections]

[DAY 40] Achilleas Aperghis, Untitled 1961-62

It wasn’t only the art critic Beatrice Spiliadis who saw the image of "damaged cathedrals" on the sculptures of Achille Aperghis. The sharp forms, the abstract morphology and the strict verticality that characterize many of them, gave rise to similar associations even by the artist himself, while rethinking years later on his artistic work. "It was not possible for the artists to go through the war without any influence in our mental mood and in our aesthetic perception at all," he concludes, commenting on the distinctive artistic universe of the "metallic wear" he created. A world that was methodically built with metallic rods as the raw material which the sculptor processed, welded and composed in such a way as to convey the eerie sense of a corroded and precarious structure. [Achilleas Aperghis, Untitled 1961-62, 178 x 81 x 35 cm, bronze, Macedonian Museum of Contemporary Art Collection Donation by Giorgos Aperghis MOMus - Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections]

[DAY 49] Panos Kokkinias, Laughter, 1994-1995

Home. Permanent or temporary residence. Shelter from all sorts of stormy weather. Place of rest, reorganization, recollection. Field of working with the inside, difficulties that grow unwanted. Space to cultivate privacy. Where one can laugh for a reason. And without one. [ Panos Kokkinias, Laughter, from the series «Home», 1994-1995]

[DAY 35] Ivan Kliun, “Red Light”, early 1920s

In the early 1920s, Ivan Kliun painted a series of works that he named "Cosmic Images". One of these "images" is the painterly composition "Red light, spherical construction". The painting reflects the attraction of many artists of the Russian Avant-garde for theories on astronomical phenomena, their interest in the future conquest of space and the understanding of the nature of the universe. The light, here, originates from a central source of energy and spreads circularly and intensely on the canvas. The painter uses black oil paints and successive layers of red color and manages to approach his initial purpose, which is to create a kind of self-illuminated painting. Red indicates the color of the revolution, but primarily it signifies the driving force of life. [Ivan Kliun, “Red Light”, early 1920s, MOMus - Museum of Modern Art-Costakis collection]

[DAY 48] Alex Mylona, Aegean II, 1984

This sculpture belongs to a period when Alex Mylona worked on sculpture compositions of thin white marble slabs, having minimal ancient shapes, such as that of the circle. The brightness and texture of the stone, the imperceptible cuts on its surface, the harmonious and simple structure, contribute to its aesthetic pleasure. The creator, through the purity of geometry, attempts to capture and summarize the spirit of the place. And at the same time, the perfect shape of the circle comes to indicate life, to submit feelings of relaxation, calmness and inner peace in a troubled and unpredictable world. [Alex Mylona, Aegean II, 1984, Athens, marble, 62 x 63 x 24 cm., MOMUs-Museum Alex Mylona]

[DAY 45], Gustav Klucis, Dynamic City (photomontage), 1921

The Planet is our Home: From 1919 to 1921 Gustav Klucis was working on the idea of the painted representation of a planet floating through space, a planet on which the rules of atmospheric gravity are observed while the various minimalist planes intersecting the sphere seek to convey messages relating to the possibilities of new technological advances. The central painting, of particular interest in terms of the use of materials which transform the texture, is titled “Dynamic City”. Klucis also presented the painting under the title “Plan for the City of the Future”, and described his artistic method as “axonometric painting”. The work also reflects the fascination felt by many of the Russian avant-garde artists for theories of cosmic, astronomical phenomena, and their interest in the future conquest of space, the study of the universe and the habitation of planets. Klucis continued working for several years on this motif of the “Dynamic City” and made a series of photomontage images, which capture a futuristic representation of a modern city with facades of skyscrapers and obtain a selectively representational character with elements of human figures and walls of buildings projected from all points and thus creating a sense of gravity, as it happens on a planet. [Gustav Klucis, Dynamic City (photomontage), 1921, MOMus-Museum of Modern Art – Costakis Collection]
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