A kind of a "dangerous supplement", marked, scarred on a body, post-orgasmically, always, already in anticipation of (a) crisis OR for a desert avec 'agape'. Mindb(l)ogg(l)ing Noise. "Avalanche, would you share my last pursuit?" (Baudelaire)

Monday, December 14, 2009

Amsterdam Biennale / Nicosia Pavilion

Amsterdam Biennale / Nicosia Pavilion
12 December 2009 - 3 January 2010
Mediamatic Bank, Vijzelstraat 68, Amsterdam [map]



APOTHEKE is taking part at the Amsterdam Biennale 2009 with a specially commissioned sound-work by Antonis Antoniou, titled Fountanes, alongside new works by Alana Kakoyiannis, Achilleas Kentonis and Maria Papacharalambous, all reflecting on the issue of water vis-a-vis Nicosia, after a text by Demetris Taliotis.




Fountanes, which means ‘water taps’ is an interactive sound installation that explores the sonic possibilities created by the manipulation and transformation of a single audio sample. Four different taps, attached horizontally onto a water tank, are the main interface between the system and the audience. By opening or closing the 4 taps, the audience directly manages the pre-programmed operations that modify the sound in specific ways, creating varying textures, timbres and rhythmic patterns. The input of the audience is an absolutely vital element for the project, since the participants actually act both as the composers and as the performers. The final outcome is therefore never the same, since it is highly dependant on the performing/compositional decisions of the participants. The audio sample is relevant to the construction; it is a recording of flowing water through the pipes underneath a sink, superimposed with a recording of a dry tap. The dry-tap recording is a usual auditory phenomenon in Cyprus (especially during the summer season), since, due to long periods of drought, water cuts are employed as a water-saving measure. The two superimposed recordings, apart from their contrast on a conceptual level, also create a sense of continuity (flowing water) with interesting rhythms (abrupt percussive sounds coming out of the dry tap).

The whole operation is controlled by a system designed on the Max/Msp software. There are 4 LEDs (light-emitting diode) attached to the very edge of each of the 4 taps. There are also 4 LDR sensors (light dependent resistor) attached to the inside of each tap. When the participant opens a tap, a proportional amount of light to passes through it and this consequently affects the voltage of the light resistor, which in turn passes this altered information to the Arduino. The Arduino is the interface between the outside world and the Max/Msp patch, where all programmed functions are found. In other words, it translates the voltage given by the LDR to data communicable to the computer. From there, the Max/Msp patch alters the audio signal in different programmed ways.

The audio output reaches the ears of the audience through 2 transducers attached to the inside surface of the tank. In this way, the signal is filtered through this object (tank) merging with its distinctive metal quality. Through this procedure, cohesion is reached between the digital world and the tangible construction.

Saturday, December 12, 2009

Friday, December 11, 2009

Sunday, December 06, 2009

Friday, December 04, 2009


Fear

Alive. That is the most addictive thing about rage - it makes you feel alive. You feel like you can take on the world. That for that moment you are present. You are a bully. But ultimately a coward. Fear drives me. Fear destroys me. Judgement. Perhaps writing in English gives it a more self-help feel then you would like? But it is late and thinking in Gaelic is always going to be a challenge. Chelsaea V Apoel. Should be an interesting match. Can Cypriots even be hoodies?

Wednesday, December 02, 2009

ΚΥΨΕΛΗ
























+ something I learned from Ikaros

Μια μπαλάντα για τον Τζορτζ Μπεστ

«Εκμηδενίστηκε η ορμή μου
Έγινε χιόνι το κορμί μου
Από μια εικόνα κρεμαστή
Χρωματιστή
…..
Από 'να ποδοσφαιριστή
Που σφυροκόπαγε τη βροχή
Θεέ μου με τι ψυχή.
Γινόταν ο ίδιος πάθος
Εικόνα και βροχή.
Μες στην τηλεοπτική μου
συσκευή.
…..
Ο Μπεστ υπήρξεν ο...
υπήρξεν ο...
καλύτερος!
Ο Μπεστ υπήρξεν ο...
υπήρξεν ο...
καλύτερος!
…..
Έτσι θα τραγουδάνε τα παιδιά
Της Αλμερίας.
Αλλά και της Αγγλίας.
Της Αλβανίας, της Αρμενίας
της Τασμανίας και της Δανίας
σε μια εποχή μελλοντική.
…..
Ο Μπεστ υπήρξεν ο...
υπήρξεν ο...
καλύτερος!
Ο Μπεστ υπήρξεν ο...
υπήρξεν ο...
καλύτερος!
…..
Κι όσο για μένα
Έτσι καθώς θα 'μαι χωμένος
στην πατρική μου γη,
οι απόγονοι,
θα 'ρχονται κάθε Κυριακή,
να με ποτίζουν έρωτα,
ψωμάκι και βροχή.
…..
Κι όταν θα σουρουπώνει
Θα στέκουν μπρος μου προσοχή,
(Οι απόγονοι)
γιορτάζοντας το πάθος μου,
για μια φωτογραφία χρωματιστή.
Γι' αυτόν τον Γεώργιο Μπεστ
τον ποδοσφαιριστή».

Μανος Χατζιδακης

+ CINEMA ATTIKA - PLATEIA AMERIKIS - OCT. 2007


OH SHIT!



Αλέξανδρος Κωνσταντίνου, OH SHIT!

Μεταξύ ηδονοβλεψίας και παρακολούθησης απλώνεται ο ναρκισσιμός. Όμοια του και εξίσου μυθολογική παθολογία οσο αφορά την κοινή αντίληψη περί του καλλιτέχνη, είναι η αυτοπροσοπωγραφία ως καλλιτεχνική θεματολογία. Τεχνικά δουλεμένη πολλές φορές με μια λίτη μεγαλοπρέπεια, συχνά σημαίνει την αντίσταση του καλλιτέχνη προς τις 'συλλήψεις' 'νεκράς φύσης' και τις απόπειρες του / της να διαποτήσει την τέχνη με την ζωή – την ζωή του. Και παρ' όλο που μπορεί να προσδιοριστεί κι ως πρόδρομος των κατάλοιπων από έργα performance και body-art, η sui generis αυτοπροσοπωγραφία δεν τα καταφέρνει να χαρακτηριστεί από την ερωτοτροπούσα, ελευθεριακή, διεπιστημονικότητα την οποία γυροφέρνει. Καθηλωμένη στις ακτές των ήδη γνώριμων της πρακτικών, επιμένει να ανταλλάζει ματίες μοναχά με τον εαυτό της. Η διασπορά της τεχνολογίας αποθανάτησης εικόνων και η επισυναπτώμενη ένδειξη αναγνώρισης και τιτλοφορία τους, παρά την συγγένεια με την νανρκισσιστική προσωπό-γραφία, εισαγάγει στην συγκεκριμένη θεματολογία, αμετάκλητα, το σωμα. Οι πλέον σύγχρονες αυτο-προσωπογραφίες, μετακυλούν το βλέμμα μας από τα μάτια, τα χείλη, τα μάγουλα. Ο Freud -ή ο Caravaggio- μπορει να ιχνογραφούν το αγορίστικο καθρέφτισμα του Νάρκισσου, αλλά το ναρκισσιστικό σώμα εισβάλει αγκαζέ με το ατελές, κακοφωτισμένο χέρι που κρατάει την φωτογραφική μηχάνη την στιγμή της 'αποθανάτησης', μέσα από το ανυποψίαστο ντεκολτέ, τα εν χωρώ σκέλια, τον ξαφνιασμένο θώρακα. Στον πυρήνα της αυτοπροσωπογραφίας το υποκείμενο-ως-αντικείμενο αντικαθηστάται από το σώμα υπο παρακολούθηση. Το καθρεφτάκι τσέπης, η κλειδαρότρυπα, το φευγαλαίο βλέμμα, απο την των πάντων βλέπουσα κάμερα.

Το έργο του Αλέξανδρου Κωνσταντίνου που παρουσιάζεται στην ΑPOTHEKΕ κάτω από τον τίτλο OH SHIT!, απορέει από μια κλιμακούμενη δαιτόμη της διερεύνησης όλων των πιο πάνω θεωρητικών διαδικασιών. Οι φωτογραφίες του OH SHIT!, μέρος μιας μεγαλύτερης σειράς αυτο-προσωπογραφιών του καλλιτέχνη, αποκαλύπτωντε και κρύβωντε συνάμα πίσω από το το στοιχείο της έκπληξης, του χιούμορ και μιας σχεδόν εφηβικής θελκτικής έλξης προς το σώμα. Ανασκαλίζωντας όμως τις πιο ενδόμυχες αναπαραστάσεις του εαυτού, η έκθεση του Αλεξανδου Κωνσταντίνου σε συν-επιμέλεια της Alexandra Lund Askoldova, ειναι, ταυτόχρονα με την επανεξέταση των κανόνων της αυτοπροσωπογραφίας σε συνυφασμό με τις ιστορικές και σύγχρονες τεχνολογικές εξελίξεις την οποία πραγματεύεται, μια απόπειρα αναστοχασμού της δογματικής προσωπολατρείας του καλλιτέχνη και της επακόλουθης θανατικής ποδηγέτηση του έργου τέχνης απο αυτή. Συνεπως, το OH SHIT! του Αλεξανδρου Κωνσταντίνου δεν είναι παρά μια προσπάθεια επαναδιατύπωσης του επαχθούς από επιθυμίες μύθου του Νάρκισσου, μέσω του φολκλορικού καθρέφτη των Αδερφών Grimm, για το ενήλικο, μετα-τεχνολογικό, φιλοθεάμων κοινό.

Αλέξανδρος Κωνσταντίνου, OH SHIT!
APOTHEKE, Κλεάνθη Χριστοφίδη 23 (Πάροδος Λευκωνος), Παλια Λευκωσια
Πληροφορίες: 99764816 ή μέσω της ιστιοσελίδας www.apothekecontemporaryarts.com
Openning Party: 4 Δεκεμβρίου 2009, 20:00
Διάρκεια Έκθεσης: 4 -12 Δεκεμβρίου 2009, 18:00 – 21:00





Alexandros Constandinou, OH SHIT!

Narcissism lays between voyeurism and surveillance. The self-portrait as artistic genre is an equally mythological pathology of our general understanding of the artist. Famously executed in frugal grandiosity it often signifies the artist's resistance towards 'still lifes' and arrested landscapes – phantasmic or realistic – and his / her attempts to instil life into art through his/ her image and liking. A precursor of the performance and body-art relic, the sui generis self-portrait does however come short from the libertarian philandering of interdisciplinarity it verges on . Transfixed at the shores of its practise it persists in making eyes to none but itself. The dissemination of image-capture technology and its tagging dispersal notwithstanding its shared position with the narcissism of the portraiture, introduces into such a genre the body. Taken at arm's length, most currently circulation self-portraits, take our eyes away from the iris, the lips, the cheekbones. Freud -or Caravaggio- might be outlining the boy Narcissus but the narcissistic body actually enters the frame as a glimpse of a camera-bearing arm, an unwitting cleavage, a dancing crotch, a surprised torso. The surveyed body replaces at the core of self-portraiture the subject-as-object. The looking glass, the peeping hole, the fleeting glance is replaced by the overseeing camera.

At the climactic cross-section of all these theoretical underpinnings comes Alexandros Constandinou's solo show at APOTHEKE, titled OH SHIT!. Part of a series of self-portraits taken over a long period of time, the photographs on show are revealed and concealed, in equal measure, behind an element of humorous surprise and an almost juvenile fascination with the body. Delving into the most closeted pronouncements of the depicted self however, OH SHIT!, co-curated by Alexandra Lund Askoldova, is an attempted reflection on the cult of the artist and its morbid grip on the work of art while at he same time being an examination of the canons of the self-portrait vis-a-vis historical and contemporary technological advances. Consequently, the photographs of Alexandros Constandinou appear to be a rewriting of the desire burdened myth of Narcissus via the folkloric Brother Grimm's mirror for a grown up, post-technological art(loving)-world.


Alexandros Constandinou, OH SHIT!
APOTHEKE, 23 Kleanthis Christofides Street (Off Lefkonos St.), Old Nicosia
Info: 99764816 or @ www.apothekecontemporaryarts.com
Opening Party: 4th December 2009, 20:00
Opening Hours: 4 -12 December 2009, 18:00 – 21:00

Tuesday, December 01, 2009

Finally the bus arrived

When I am an old woman, I shall wear purple
with a red hat that doesn't go, and doesn't suit me.
And I shall spend my pension on brandy and summer gloves
and satin candles, and say we've no money for butter.
I shall sit down on the pavement when I am tired
and gobble up samples in shops and press alarm bells
and run my stick along the public railings
and make up for the sobriety of my youth.
I shall go out in my slippers in the rain
and pick the flowers in other people's gardens
and learn to spit.

You can wear terrible shirts and grow more fat
and eat three pounds of sausages at a go
or only bread and pickles for a week
and hoard pens and pencils and beer nuts and things in boxes.

But now we must have clothes that keep us dry
and pay our rent and not swear in the street
and set a good example for the children.
We must have friends to dinner and read the papers.
But maybe I ought to practice a little now?
So people who know me are not too shocked and surprised
When suddenly I am old, and start to wear purple.



Jenny Joseph

Friday, November 27, 2009

Thursday, November 19, 2009



joker & a thief

Thierry Henry's handball in the build-up to France's decisive goal against the Republic of Ireland

'I'm glad I'm not playing any more' - Roy Keane
Hey, Thierry, be glad he's not playing any more:

Roy Keane and Gus Poyet

Monday, November 16, 2009

True Blue



±100 years since the day Joshua Slocum, non-swimmer yet first single-handed circumnavigator disappeared aboard his 36ft sloop-re-rigged-to-yawl, Spray.

Saturday, November 14, 2009

Wednesday, November 11, 2009

Friday, November 06, 2009

time for a poem again

Climbing Everest
by Fred Seidel

The young keep getting younger, but the old keep getting younger.
But this young woman is young. We kiss.
It's almost incest when it gets to this.
This is the consensual, national, metrosexual hunger-for-younger.

I'm getting young.
I'm totally strapping on the belt of dynamite
Which will turn me into light.
God is great! I suck Her tongue.

I mean - my sunbursts, and there are cloudbursts.
My dynamite penis
Is totally into Venus.
My penis in Venus hungers and thirsts,

It burns and drowns.
My dynamite penis
Is into Venus.
The Atlantic off Sagaponack is freezing black today and frowns.

I enter the jellyfish folds
Of floating fire.
The mania in her labia can inspire
Extraordinary phenomena and really does cure colds.

It holds the Tower of Pisa above the freezing black waves.
The mania is why
I mention I am easily old enough to die,
And actually it's the mania that saves

The Tower from falling over.
Climbing Everest is the miracle - which leaves the descent
And reporting to the world from an oxygen tent
In a soft pasture of cows and clover.

Happening girls parade around my hospice bed.
The tented canopy means I am in the rue de Seine in Paris.
It will embarrass
Me in Paris to be dead.

It's Polonius embarrassed behind the arras,
And the arras turning red.
Hamlet has outed Polonius and Sir Edmund Hillary will wed
Ophelia in Paris.

Give me Everest or give me death.
Give me altitude with attitude.
But I am naked and nude.
I am constantly out of breath.

A naked woman my age is just a total nightmare,
But right now one is coming through the door
With a mop, to mop up the cow flops on the floor.
She kisses the train wreck in the tent and combs his white hair.

from Ooga-Booga

Thursday, November 05, 2009

Tuesday, November 03, 2009

I smell a lack of an ombituary

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