Theo Michael Archives

Friday, 8 June 2018

CONSTELLATIONS IN THE DIRT

DETAILS

CONSTELLATIONS IN THE DIRT

20/06/2018 - 02/09/2018

Kouphonisi Archaeological Collection (former elementary school of Kouphonisi)

OPENING HOURS

Wed. till Sun. | 10:00 – 14:00 & 19:00 – 23:00

Free Entrance

PARALLEL EVENTS

14 July 2018 | 20.00

Pina Bounce: Trumpetancy

Sound performance by Thalia Ioannidou

27 June– 1 July 2018 | 19.00 – 21.00

Educational workshop for children aged 6-12 by Christianna Economou

ΝΕΟΝ Organization, in collaboration with the Ephorate of Antiquities of Cyclades presents the group exhibition of contemporary art Constellations in the dirt, on the site of the presently formed Kouphonisi Archaeological Collection (former elementary school of Kouphonisi).

ΝΕΟΝ collaborates with institutional bodies of culture and activates historical sites in artistic actions that creatively connect the archaeological past with contemporary culture. Through this collaboration, the Ephorate of Antiquities of Cyclades realizes an opening to contemporary art, underlining the timelessness of the creative process and the necessity for a dialogue between the “established” past and the contemporary artistic expression.

The exhibition will take place in the building of the former elementary school of the island, which has been granted by the Municipality of Kouphonisi to the Ephorate of Antiquities of Cyclades in order to host the Kouphonisi Archaeological Collection.

Centered around the archaeological load of the Small Cyclades, Kouphonisia and Keros island complex – an arid land, but at the same time a “fertile” archaeological ground – the exhibition’s curatorial approach focuses on the ‘archaeological find’ and its position in the respective present.

What happens when the products of a civilization are converted into “findings” and appear as fragments? What defines then, the archaeologists’ process of composing anew a picture based on these findings?

Which would be the position of the “present antiquity” in the future? Through which route are findings translated from undefined fragments of material into recognizable objects and how does the interpretation of the archaeologist affect the view of the spectator?

The exhibition Constellations in the dirt includes visual works, sculptures, small installations and soundworks from the following nine artists: Hypercomf, Thalia Ioannidou, Konstantinos Kotsis, Theo Michael, Malvina Panagiotidi, Vasilis Papageorgiou, Kostas Roussakis, Kostas Sahpazis and Vangelis Vlahos.

The archaeological environment of the area functions as motivation for visual creation in two new commissions by NEON to artists Malvina Panagiotidi and Kostas Roussakis. At the same time, the exhibition opens up to the external landscape of Kouphonisia, inviting the visitors to explore and discover spots of archaeological interest.

The exhibition includes the film Triumph Over Time by archaeologist Oscar Broneer, filmed in 1947 for theAmerican School of Classical Studies in Athens and highlights the archaeological landscape of Greece right after the war.

The exhibition is curated by Fanis Kafantaris and Irene Kalliga.

Co-ordination of the exhibition for the Ephorate of Antiquities of Cyclades: Stefanos Keramidas.

Monday, 14 May 2018

Cerrajeria, Lock Up International

Lock Up International presents Cerrajeria.
12 keyrings installed in a key cutting stand or store across Mexico City.

Google map

Michael Assiff
Francisco Cordero-Oceguera
Rhys Coren
Ala Dehghan
Erin Jane Nelson
Alexandra Metcalf
Theo Michael
Athena Papadopoulos
Frederick Powell
Leonel Salguero
Fin Simonetti
Gunna Tchida

La Simetria Del Ermitaño, Casa Del Lago UNAM

La simetría del ermitaño: una visión postapocalíptica.

Theo Michael

La práctica de Theo Michael (Tesalónica, Grecia, 1978) es un efervescente caldo de cultivo. En éste proliferan seres, ambientes, materiales, herramientas, invenciones intangibles, formas e imágenes tan diversas como:

el petate,

Arabia Saudita, el humor,

el Internet, el pegamento, las plantas,

la arquitectura, la imprenta, un cómic de ciencia ficción, el hule espuma, el arte,

la política, la tuerca, Diógenes de Sinope, el excedente, la evolución, el agua, el éxito,

un sleeping bag, el colapso, la comida, la infancia, la esquina, el graffiti, el sonido "riu".

La peculiaridad de esta amalgama de origen mixto es que, al fusionarse al ritmo impuesto por Michael, genera una suspensión temporal y un carácter indefinido sobre el objetivo que persigue. Es decir, provoca dudas sobre cosas que consideramos estáticas o demasiado elementales para ser reconsideradas en relación a su uso, procedencia y razón de ser. Dicha característica, dota al trabajo de este artista, de un sentido crítico acerca de las dinámicas de sobreexplotación, sobreproducción e inercias de hiperconsumo de nuestras sociedades y su todavía vigente convicción en un progreso lineal y homogéneo de la civilización. Dicho de otro modo, en lo que el filósofo surcoreano Byung-Chul Han define como: el infierno de lo igual. Un estado o situación en el que la única diferencia permitida es aquella que resulta comercializable y, por tanto, fugaz.

Con motivo de la presente exposición, la figura del ermitaño, del personaje radical que toma distancia, se detiene y habita en un espacio no civilizado, ha adoptado esta sala de Casa del Lago como su morada y campo de experimentación temporal. Contrario a su costumbre, ha dejado las puertas abiertas y, más extraño aun, imagina un interlocutor, un público.

Monday, 25 September 2017

Cabinet @ David B Smith Gallery

Dan Allende // Theresa Anderson // Shobun Baile // Austin Ballard // Justin Beard // Michael Bernhardt // Brandon Boan // Agnes Bolt // Molly Bounds // Amelia Carley // Caroline Charuk // Kevin Clancy // Lenka Clayton // Amber Cobb // Joseph Coniff // Milton Melvin Croissant III // Chelsea Culprit // Katrin Davis // Brittany De Nigris // Débora Delmar // Gus Depenbrock // Lindsey Dezman // Lauren DiCioccio // Kim Dickey // Lanny DeVuono // Jeromie Lawrence Dorrance // Hannah Epstein // Sophie Erlund // Orlando Estrada // Yolanda Fauvet // Cory Feder // Tobias Fike // Donald Fodness // Dylan Gebbia-Richards // Jon P. Geiger // Julian Glander // Liz Greene // Rashawn Griffin // Steve Gurysh // Gustav Hamilton// Matthew Harris // Isauro Huizar // Maria Hupfield // Institute for New Feeling // Kahlil Irving // Kristen Jensen // Courtney Johnson // Stephanie Kantor // Sarah Keeling // Stephen Kent // Heidi Lau // Jaewook Lee // Tate Leone // Micah Lexier // Kylie Lockwood // Linda Lopez // Alex Lukas // Anuar Maauad // Morgan Mandalay // Yeni Mao // Tucker Marder // David McDonald // Michael Jones McKean // Drew Merriman // Dietrich Meyer // Theo Michael // Virginia Lee Montgomery // Keiko Narahashi // Lucia Nhamo // Alicia Ordal // John Peña // Montgomery Perry Smith // Suso Phizer // Katie Rose Pipkin // Bruce Price // Michael Pybus // Jeanne Quinn // Martha Russo // SANGREE // Phillip Scarpone // Gretchen Marie Schaefer // Matt Scobey // Sarah Scott // Laura Shill // Devan Shimoyama // Lizzee Solomon // Emilie Stark-Menneg // Gray Swartzel // Joel Swanson // Ian Trask // Wade Tullier // Derrick Velasquez // Carolina Vogt // Katie Watson // Lee Webster // Ashley Eliza Williams // Moses Williams // Imin Yeh

Η αξιοδοτηση στην Ιστορια της Τεχνης

http://www.kathimerini.gr/919577/opinion/epikairothta/politikh/h-a3iodothsh-sthn-istoria-ths-texnhs

ARTHROPODOS, Galerie Vallois, Paris, March 10 till April 22, 2017

Arthropodos

The basic argument of the show is a reaction to the following question: What if everything we do leads to death and extinction?

Since this question seems to be plausible and impossible to refute, then maybe everything is futile, including all art and politics and all the conversations

you ever had and everything else we admire and consider worthy. Should we be reconsidering our criteria and values? Is there something that should be done

about this or is extinction an unavoidable fate? Should we care about the little things or anything at all? Should we oppose "progress" and live like ants in communist

arrangements or should we go all out and colonize the universe like the great aggressive mutation of matter that we are (consuming all resources in the way)? Being

agnostic about these questions is what stimulates the production of the works in this show.

The obsessive drawings depict articulated and overlapping landscapes that are devoid of human figures but intelligent forces are implied.

The artificial and the natural are merged and are now inhabited by 2D creatures that seem to have been installed there by a troglodyte that defaced the carefully

rendered drawing. These hideous creatures analyze and critique their predicament and their reality. Some of these creatures are insects. It is appropriate

that after all is said and done mankind is judged by arthropods, the very creatures that men thought of as disgusting, brainless without conscience and ok to be

mass exterminated.

In this show the artist's first ever large scale sculpture will be presented. It is a precarious arrangement of primitive and archetypal forms.

Explicit semblances are avoided, but one could discern organic forms like worms or molecular structures, ice cream balls, phallic undertones and fecal matter

or just some plain old fashioned modernist formal investigation. The argumentation that drives the work comes in the form of patina, paint layers that reveal previous

paint jobs and a reluctantly vandalized surface that reveals an artificial history of changing one's mind, complex ownership, uncertainty about creative decisions and

what it feels to be a sculpture.

A few smaller sculptures on a table are the product of extensive reworking of scraps from older works. Various non traditional sculpture materials have been used among them

a pulp made out of the studios paper and plastic rubbish. Layers of different materials unorthodoxly used, make for a geological feel. Life is just complex matter and even the most

artificial polymer plastics are made of stardust just like us.

In a Post Humanist manner, the artist assumes the perspective of other life or artificial intelligence or a Master Simulator. In his construct there is no politics, no logic,

no good and evil, no art but only materials and their combinations the only universal code. This viewpoint places human activity on an equal level with insects, rocks or viruses. We

need to escape humanity in order to clearly see what we are doing. Finally only a non human can critique a human. And then maybe we can understand.