Author Archives: lydiachatziiakovou

On music interpretation (presentation by guest speaker Yiorgos Petmezas) and the analogy between the role of the conductor and the curator

18 May 2011: Presentation by Yiorgos Petmezas at bar Partizan

The role of the curator and the dynamics between the artist and the curator has often come up in our discussions. When Stephanie invited (classical) music aficionado Yiorgos Petmezas to talk on the theme of the interpretation of music, we did not imagine that this same issue would once more come up.

Using several examples, our guest speaker tried to answer some of the following questions: Is there a question of interpretation when it comes to the performance of (classical) music? Isn’t music just a matter of executing the score’s instructions? How does the personality of the conductor or performer affect the result? Continue reading


Art and Money

21 April 2011: Discussion on art and money at Cinque Terre

We selected three articles from the 24th issue of e-flux journal (a great online resource for anyone interested in art & culture), all three of them separately interesting, but also focusing on relevant and current –seen from the perspective of the crisis in Greece and Europe– themes: money, art, distribution of knowledge, collective action. The articles were: Boris Groys: “Art & Money”, Precarious Workers Brigade: “Fragments Toward an Understanding of a Week that Changed Everything…”and Franco Berardi Bifo: “I Want to Think: POST-U”.

As one would anticipate, the topic that monopolized the conversation was art & money, setting off from the main points touched by Boris Groys, who divides the different aspects of the relationship between art and money into two bulk categories: a. the exchange value of an art work (art as commodity); b. the phenomenon of large-scale exhibitions (biennials, triennials, Documenta, Manifesta, art fairs), through which the art exhibition turns into an event for the general public not interested in buying art, and for the realization of which public or private funding is necessary. Groys focuses on this second category, mainly referring to installation art, which is hard to circulate and therefore might cease to exist without exhibitions –since art comes into being only when it is exhibited. He then turns the discussion to whether contemporary (installation) art is “elitist” and to the quality of this “elite”: is it the financial elite? or is it the artists themselves? Continue reading

Collective Initiatives & Public Interventions – public discussion, March 19 2011

Societe Anonyme’s first public event took place on Saturday, March 19, at the Macedonian Museum of Contemporary Art, as part of the Museum’s Project Space series of events. Even though it was a warm, sunny Saturday (which usually hampers the audience’s will to be stuck in an auditorium for two and half hours), the enthusiastic turnout of a public eager to participate in the discussion proved that the subject and list of speakers were both interesting and timely.

The conference, entitled “Collective Initiatives and Public Interventions”, included interventions by: Spiros Pengas (Municipality of Thessaloniki – Deputy Mayor for Culture, Education and Tourism), Yiorgos Papakostas (President – Department of Architecture, Aristotle University of Thessaloniki), Aris Stilianou (Adjunct Professor of Political Philosophy – Department of Political Sciences, Aristotle University of Thessaloniki), Apostolos Kalfopoulos (architect, curator, Lecturer – Department of Architecture, Aristotle University of Thessaloniki, Dynamo Project Space), and Marios Spiroglou (Director, founder of Sfina). Continue reading

“What you really collect is always yourself”, Jean Baudrillard

10 February 2011: Visit to Ioannis Vavatsis’ private collection of antique toys and discussion at Partizan

For 20 years now, Mr Vavatsis collects toys and other objects related to children’s life and reality –toys, school books, tests and essays, magazines, health records, family photos… approximately 8000 objects compose this peculiar collection, exhibited in an underground space below the collector’s antiques store. The place is packed with different objects, grouped by kind –dolls, stuffed animals, school books, cars, trains, rocking horses…– occupying shelves, showcases, trunks; without chronological classification, but with tags bearing the year of manufacture, enriched with some (random) information on the history of each object –when available and without epistemological pretense. Continue reading