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ΤΥΧΑΙΟ ΚΑΙ ΑΝΑΡΧΟ ΦΑΙΝΟΜΕΝΟ (A RANDOM AND ANARCHIC PHENOMENO).

Wheelchair in supermarket cart

Cats 2020 , Γάτες 2020 photography/φωτογραφία Κωνσταντίνος Κουμλής

Αφηρημένο με Κίτρινο & Κόκκινο

Προσμένοντας την άνοιξη στα όνειρά μας

A Typical Landscape in the Western Carpathians

Το γάλα και το φως ως πηγή ζωή και τα δύο

"Is it pointless or is it not? "

Is the summer available in your country?

Χάρτες Ι - ( Πριν ξημερώσει ή πριν κοιμηθώ)

[DAY 12] Stephen Antonakos, Entrance, 1996

The flowing energy and the clear, revealing, mysterious, and transcendent ample light, offer aesthetic fascination and invoke at the same time the ineffable and mystical, claiming more than the obvious, through works which address the viewer and communicate with him, seeking his synergy and involvement. [Stephen Antonakos, Entrance, 1996, Construction with neon, wood and aluminum, Alpha Bank Collection] Photo: Thanos Makris [From the current exhibition "Stephen Antonakos: Light. Stephen Antonakos and Russian Avant-Garde at MOMus - Museum Alex Mylona]

[DAY 4] Stavros Kioutsioukis, Swastika in memory

The city has been hosting the Holocaust Memorial since 1997. It is a work of Nandor Glid completed by his son Daniel, creators of other similar monuments in Belgrade, Dachau and Yad Vasem in Jerusalem. In the sketch, the monument comes to life, accepts the Nazi attack that desecrated its body, bends and tilts, but resists. It struggles to stand up and lift the weight of the memory we loaded on its shoulders. The bodies are entangled in the shape of the lamp, they burn, they bleed. They rediscover the original connection with the extermination of the Jews of Thessaloniki in 1942. Some monuments are living organisms. They become subject to assault, claim, vandalism. Invisible or unwanted, exiled or indifferent, they come back to remind us of the measure of our endurance in the memory with which we find it difficult to reconcile. [Stavros Kioutsioukis, Swastika in memory Thessaloniki December 2018. Unidentified persons desecrate once more the Holocaust Memorial in Eleftheria Square, in the centre of the city. The perpetrators spray a swastika on the memorial and leave undisturbed] [Sketch from the exhibition "X them out. The Black Map of Racist Violence at MOMus - Museum of Contemporary Art]

[DAY 17] Apostolos Georgiou, “Five past three”, 2006

It may be April 1st. It’s definitely five past three. The title of the work of Apostolos Georgiou signals, with almost detective precision, the time. A time, which painting freezes. A time, which may imply either the absence of any event or the presence of an event that we are unaware of, even of it’s a crime. The markers of this watch are created by human bodies, which intertwine, carrying one another. In this state of stability and insecurity at the same time, reality is defined not only by individuals and events but also by their psychological weight. [Image: Apostolos Georgiou, “Five past three”, 2006, acrylics on canvas, 260x230 cm, Donation of the artist to the Macedonian Museum of Contemporary Art, MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art & State Museum of Contemporary Art Collections]

[DAY 31] Photo: Petros Giannakouris, Idomeni, February 28, 2016

At a time when home proves to be, except from a resting place and a family hearth, the utmost shelter for protection against invisible enemies, it is not too late to consider all those which in these conditions remain homeless, with a tent as their only roof, obliged to abandon their roots, and to live in a dark uncertainty about everything. [Photo: Petros Giannakouris, Idomeni, February 28, 2016] [From the past exhibition "Another life: Human flows, unknown Odysseys" (2016) at MOMus - Thessaloniki Museum of Photography]

Stephen Antonakos, Chapel of the Celestial Scale, 1995-99

The Chapel of the Celestial Scale, a large scale artwork by the Greek-American artist Stephen Antonakos, is constructed of rusty iron. Through the opening in its roof, the dark interior is exposed to the elements of nature, rain and wind, but mainly to the sun that on summer days ignites the iron. Antonakos' intention was to create a suffocating atmosphere for the visitor, which, however, finds a "way out" in the view of the staircase that rises above the roof opening and is illuminated with neon ―evoking a spiritual experience, a feeling of exaltation, transcendence and liberation. [Stephen Antonakos, Chapel of the Celestial Scale, 1995-99, iron, neon, MOMus - Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections]

[DAY 23] Marilia Fotopoulou, From the series Interior Decoration, 2015

Homes, besides being the nucleus of personal life, are also places where people store what they want to preserve in time, whatever they can’t live without. Thus they become, especially some corners in them, small private museums that disclose our preferences and contradictions, our particular or commonplace aesthetics, how much we depend on the important and the trivial, how unprepared we are to face some kind of an end. [Marilia Fotopoulou, From the series Interior Decoration, 2015, MOMus-Thessaloniki Museum of Photography]

[DAY 20] Katerina Tsakiri, From the series "Family Affair", 2014-2015

The family hearth is a place where one can weigh, even with closed eyes, the past and present of generations, the personal and the collective in the narrow social nucleus, where the self and its idol learn to converge or diverge, where a selfie can potentially become a field to recollect unresolved affairs. [Katerina Tsakiri, From the series "Family Affair", 2014-2015, MOMus-Thessaloniki Museum of Photography]

[DAY 27] Manetas Miltos (1964, Greece) , Cables (Togetherness), 2009

Miltos Manetas’ painting highlights the dynamics of online technology, since the early 1990s. Over time, he manages to monument objects and material of the technological microcosm to which we usually do not pay much attention to, or sometimes we consider them cheap and even try to hide them, such as cables. However, the cables' tiny tangled wires may not be places, transmitters or receivers, but they are bridges; thanks to which energy and mechanical loads of any type circulate, communicate and somehow keep us together tirelessly, carrying sound, information, energy and light. [Manetas Miltos (1964, Greece) , Cables (Togetherness), 2009, Oil on canvas, Donation of the artist to the Macedonian Museum of Contemporary Art, MOMus-Museum of Contemporary Art-Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections]

[DAY 7] Alex Mylona, The Kiss (Homage to Brancusi), 1967

The art of Alex Mylona succeeds in transmuting emotion and moulding its vital relationship with the world; in touching the secret of existence and birth, motherhood and love; in combining the myths of the ancient Greek world —the birth of Aphrodite, the Minotaur and Medea— with the spirituality of Byzantium, to seek out the balances, to reflect on the nature and potential of plastic art, to suggest a new arrangement of space and surface, of rhythm and volumes, of positivity and negativity, of emptiness and wholeness, of materiality and form. [Alex Mylona, The Kiss (Homage to Brancusi), 1967, Pentelic marble, 71x74x19 cm MOMus - Museum Alex Mylona]

[DAY 32] Alex Mylona, Garden, 1953

Alex Mylona in one of her early paintings, captures the image of her house’s garden in an abstract way and simplified style, trying to convey the feeling of this bright, colorful and spring environment. For the artist, it is the life-giving breath of nature itself that enters the house and occupies it, the resonance of its visual stimuli, their transformation into color, light and atmosphere. It is a breath of hope and optimism that transcends any kind of isolation and limitation. [Alex Mylona, Garden, 1953, Athens, oil on cardboard, 38 x 29 cm, MOMus-Museum Alex Mylona]

[DAY 28] Alex Mylona, The attic at Christine road (Paris), 1987

We are looking at the image of an interior space, with the table and the tools of the artist's artworks in the foreground. A calm reality, a simple image with familiar objects, an image of silence that creates a warm and serene impression, but, at the same time, exudes a sense of melancholy, isolation and loneliness. Alex Mylona captures, with unique color and design simplicity, her shelter. She manages, in a simple and unpretentious way, to express all that she feels, her vital and experiential relationship with art and life, while the open window of the attic bridges her personal, private world with the world outside. [Alex Mylona, The attic at Christine road (Paris), 1987, watercolor, 28,5 x 20 cm, MOMus - Museum Alex Mylona]

[DAY 18] Alex Mylona, Cyclades II, 1984

“The white marble from the Dionysus quarries is the material which I use, and which best expresses me today. Simple, but full of light and life, it has an autonomous quality. Complicated forms do not suit it;they would hide its beauty. Clear, plain lines, such as the circle, the semicircle, the square, the rectangles have always been what one might call “symbolic” shapes. What has always played a dominant role in my work is synthesis, with instinct as its guiding forces”. Alex Mylona, 1986 [Alex Mylona, Cyclades II, 1984, Marble, 105x90x30cm, MOMus - Museum Alex Mylona]