23 NOV - 16 DEC ‘17
23 NOV - 16 DEC ‘17
Opening 23 NOV '17, 20:00
Wednesday to Saturday 12:00 – 18:00
PHOTO INSTALLATION at VOID
Curated by Sylvia Sachini & Stéphane Charpentier
The installation presents variations of a cluster of high-rises as a metaphor of human habitat, evoking feelings of solitude and dystopian energy. High contrast black and white pictures of these buildings are installed opposite a series of evanescent portraits, stunned presences, faces seemingly hypnotized by a blinding blaze.
Monday 04.12.17 | French Institute - Auditorium Theo Angelopoulos & Café – IFG | 19:30
Projection of Stephane’s photographic film “Eclairages”
with a live 5.1 surround sound performance by Alyssa Moxley (duration 24 min).
Projection of the split screen film "The Divided Line »
with a soundtrack by Oiseaux-Tempête (duration 20 min).
Open discussion, questions & answers with the artist
This event is organized by the French Institute and the entrance is free.
Saturday 09.12.2017 | Void | 20:00
Concert by Millions of Dead Tourists
With live videos by Stéphane Charpentier
Sound Introduction by Alyssa Moxley (mixed field recordings)
Sunday 10.12.2017 | Void
Portfolio review with Stéphane Charpentier
The photography installation is supported by the French Institute of Athens.
Stéphane Charpentier engages an introspective photographic language and builds long-term analog series. He also creates short and long form experimental films, music videos, and installations. He collaborates frequently with musicians and sound artists, and took part in the creation of the band Oiseaux-Tempête, whose first album was inspired by their collective trips in Greece. Since 2013, he has curated and promoted Temps Zero — an international and collective photo & film projection series with live improvised music performances — around Europe. Stéphane Charpentier is based in Athens since 2015.
Sunday 10.12.2017 | Void
Limited places available at email@example.com
η ημερομηνία θα ανακοινωθεί σύντομα
η ημερομηνία θα ανακοινωθεί σύντομα
Closed for submissions
Closed for submissions
• Photographers were invited to post photos under the hashtag #voidnoplace responding to the theme “My place, no place.” Entries were accepted until 07 JUL ‘17.
• Following the curation of Void & LensCulture, the selected photos were printed as posters and pasted on the streets of Athens, for a Guerrilla exhibition. In addition to the exhibition, Void will posted the photos on LensCulture's Instagram, as part of the take-over. Finally, for the last day of the project, we published a zine of the project.
“Everyone tries to create a world he can live in, and what he can’t use he often can’t see.” - Saul Bellow
Immigration, displacement, nationalism, walls, borders, mental states, family, ghettos, prisons, egomania, narcissism, territories, birth places, the womb, the earth, the universe. Almost innumerable are the places where we can exist. Some of them are transitory, some feel like traps. A place can be physical, but it can also be a feeling or a state of mind.
For this call, Void and LensCulture would like to know: where are you right now?
Do you feel it is your place?
Or do you feel like you don't belong?
What is your position as a photographer? As a human being? Can you show it to us in a picture?
• Shortlisted photos will be chosen during the week. Photographers need to be ready to provide the high resolution file (at least 3000 pixels on the largest side) on Saturday, 08 JUL ‘17. Photographers that fail to deliver the high resolution files are likely to be dropped from the project.
• Shortlisted photos will not necessarily be included in the final edit.
• All submitted photos should follow Instagram’s policies.
• All submitting photographers should read the terms and conditions prior to submitting their photographs.
Zero. No fee. It is free.
We don’t ask for any fee for submitting photographs.
And if selected, we also don’t charge for anything to organize the exhibition and print the zine.
03 JUL '17 - Open for submissions
07 JUL '17 - Deadline for submissions
08 JUL '17 - Deadline for shortlisted photographers to submit high resolution files
09 - 15 JUL '17 - Instagram take-over & Guerrilla exhibition in the streets of Athens
16 JUL '17 - Zine launch
22 JUN - 15 JUL ‘17
22 JUN - 15 JUL ‘17
Curated by Natasha Christia
Tuesday - Saturday: 19.00 - 22.00
AMORE brings together Anaesthesia and A MORE, two ongoing editorial projects by Valentina Abenavoli (published or due to be published by AKINA).
Exuberant and multifaceted, Abenavoli’s creative activity encompasses almost everything: from book editing, publishing and writing to curating her own narratives into autonomous visual essays of reveries that abruptly turn into volcanic manifests of political activism regarding today’s image world.
AMORE is an exhibition about an unfinished trilogy. From the horror of love in Anaesthesia to the confessional desire, the mute carnal love and the pornographic poetry of A MORE, it leads to an unknown territory, pervaded by a feeling stronger than the extremeness of being and not being. From the printed book sequence to the wall installation, from vernacular vintage photographs to reproductions, from the written word to the dictated one, from photography to cinematography, and vice versa, the show confronts media and integrates the image in a process of incessant re-interpretation, re-appropriation, consumption… Through her visual essays, Abenavoli reaches the liquid frontiers of the image and meaning, wherein exhaustion is prevalent. She questions the very mechanisms of seeing, and reinvents the notions of documentary and fiction —of what is deemed to remain in the private realm and what is public. This confrontational and uncompromised visual mash up of media images and meanings builds a solid visual essay that consolidates Abenavoli’s female voice and status as a contemporary visual thinker. Similarly to Chris Marker, hers is not mere storytelling but a courageous and unconventional at heart confrontation with the contemporary dystopia.
Valentina Abenavoli was born in the 80s in Naples (Italy). She prefers reading photography in lyrical sequence and being constantly on the edge between awareness and reveries. After a degree in photography, a master in book publishing and several odd jobs, in 2012 she founded AKINA, together with Alex Bocchetto. Their independent publishing house edits and produces challenging photobooks in limited editions, often handmade. In 2016 Abenavoli curated and edited her first own book Anaesthesia. Her work has been featured in exhibitions such as “Anaesthesia” (JEST, Torino, 2016), “Photobook Phenomenon” (CCCB, Barcelona, 2017), and “Uncensored Books”, curated by Natasha Christia (Belgrade Photomonth 2017 / Minimum Studio, Palermo, 2017) & Fuam Istanbul Photobook Festival “Anaesthesia” (Istanbul, 2017)
AMORE, 2017 - Valentina Abenavoli
22 ΙΟΥΝΙΟΥ - 15 ΙΟΥΛΙΟΥ ‘17
Εγκάινια: 22 ΙΟΥΝΙΟΥ '17 - 20h00
Μια ημιτελής οπτική τριλογία της Valentina Abenavoli
Επιμέλεια έκθεσης: Νατάσσα Χριστιά
Η έικαστική εγκατάσταση AMORE φέρνει στο προσκήνιο την Anaesthesia και το A MORE, δύο έργα της Valentina Abenavoli (που δημοσιεύθηκαν ή πρόκειται να δημοσιευθούν από τoν AKINA, τον εκδοτικό οίκο που συνδιεθύνει με τον Alex Bocchetto).
Πολύπλευρη και εκρηκτική, η δημιουργική δραστηριότητα της Abenavoli περιλαμβάνει σχεδόν τα πάντα στον τομέα της φωτογραφίας: Από την επιμέλεια εκδοτικών πρότζεκτς, τη δημοσίευση βιβλίων και τη συγγραφή, στην επιμέλεια των προσωπικών της αφηγήσεων υπο τη μορφή αυτόνομων οπτικών ονειροπολημάτων που μετασιώνονται απροσδόκητα σε εκρηκτικές διακηρύξεις πολιτικού ακτιβισμού στον σημερινό κόσμο της εικόνας.
Η έκθεση βασίζεται σε μια ημιτελή τριλογία. Από τη φρίκη της αγάπης στην Αναισθησία μέχρι την ομολογητή επιθυμία, την σιωπηρή σαρκική αγάπη και την πορνογραφική ποίηση του A MORE, οδηγεί σε μια άγνωστη επικράτεια εκτός των ορίων της ύπαρξης ή της ανυπαρξίας, που διαπνέεται από ένα αίσθημα υπερβατικό. Από την διήγηματική διάρθρωση του βιβλίου έως την εικαστική εγκατάσταση στον τοίχο, από φωτογραφίες vintage σε απλές αναπαραγωγές εικόνων, από τον λόγο τον γραπτό στον προς υπαγόρευσή, από τη φωτογραφία στην κινηματογραφική προβολή και τούμπαλιν, υποβάλλει την διαδραστική και δικτυακή χρήση την εικόνας σήμερα σε μια διαδικασία συνεχούς επανερμηνείας, οικειοποίησης, κατανάλωσης... Με τα οπτικά δοκίμια της, η Abenavoli αποπλέει στα θολά σύνορα της εικόνας και του νοήματος, εκεί όπου δεν επικρατεί τίποτε άλλο παρα μόνο κόπωση. Αναθεωρεί με κριτικό βλέμμα τους μηχανισμούς θέασης και θεώρησης του σημερινού ιστορικού γίγνεσθαι, και επανεφεύρει τις έννοιες του ντοκιμαντέρ και της μυθοπλασίας - του τι είναι προορισμένο να μένει εν οίκω και τι εν δήμω. Αυτή η συγκρουσιακή οπτική διασταύρωση των εικόνων και των νοημάτων που ελλοχεύουν στα θολά νερά των δικτυακών μέσων θεμελιώνει τη γραφή της και καταξιώνει τον στοχασμό της και τη γυναικεία της φωνή. ‘Όπως και στην περίπτωση του Chris Marker, η αφήγηση της δεν είναι απλός μυθοπλαστικός λόγος, αλλά μια θαρραλέα και αντικομοφρομιστική αντιπαράθεση με την σύγχρονη δυστοπία.
Η Valentina Abenavoli γεννήθηκε στη δεκαετία του ογδόντα στη Νάπολη (Ιταλία). Επιλέγει ως τρόπο ανάγνωση των εικόνων τις λυρικές αλληλουχίες που αποπνέουν ένα πνεύμα ευαισθητοποίησης και ελπίδας. Το 2012, μετά από ενα πτυχίο στη φωτογραφία, ενα μάστερ στην έκδοση βιβλίων και διάφορες ιδιότυπες επαγγελματικές ενασχολήσεις, ίδρυσε μαζί με τον Alex Bocchetto τoν AKINA. Ο ανεξάρτητος εκδοτικός τους οίκος επιμελείται και δημοσιεύει προκλητικά photobooks σε περιορισμένες, συχνά χειροποίητες εκδόσεις. Το 2016 η Abenavoli εξέδωσε το πρώτο της βιβλίο Anaesthesia. Το έργο της έχει παρουσιαστεί σε εκθέσεις όπω «Anaesthesia»(JEST, Torino, 2016), «Photobook Phenomenon» (CCCB, Βαρκελώνη, 2017) και «Uncensored Books», (Belgrade Photomonth, Βελιγράδι 2017 / Minimum, Παλέρμο, 2017) & Fuam Istanbul Photobook Festival, «Anaesthesia», (Κωνσταντινούπολη, 2017)
13 - 19 JUN '17
13 - 19 JUN '17
For a limited number of days, and for this very specific project, we have decided to treat FOUND as an accidental and transient condition instead of an end goal. The longing for being found, discovered, reclaimed is replaced by an acceptance of oblivion’s permanence. By embracing LOST, we release all expectations and allow the possibility of FOUND to be closer to marvel than reassurance.
We invite visitors to act as witnesses in this in-between state of images - after being captured, while being edited, before being published.
During the first day of the project, all contributed images were printed within the gallery and spread out in the ground floor space, allowing the process to commence and unfold.
(Float.) had its doors open, so the editing of the publication is open to the public.
Frames were created on the walls, which represented the pages of a publication.
The publication was edited in situ on the walls of (Float.). By the end of the 2nd day, the gallery’s walls were the maquette for the publication to be done on the following days.
During the 3rd day, the publication was printed in (Float.) to be presented on the night of the 4th day together with the final exhibition-installation that was the result of the editing process.
Zero. No fee. It is free.
We didn’t ask for any fee for submitting the projects.
And if selected, we also didn’t charge for anything.
Submissions are closed for this project.
11 JUN '17 - Deadline for submissions
13 & 14 JUN '17 - Editing at (Float.)
15 & 16 JUN '17 - Printing and zine production at (Float.)
16 JUN '17 - 20h00 - Opening of the exhibition + zine release at (Float.)
17 - 19 JUN '17 - Exhibition stays open from 13h to 19h at (Float.)
Tousa Botsari 20
117 41 | Athens
18 APR - 01 MAY '17
18 APR - 01 MAY '17
During the month of April, Void will launch an experimental approach to its platform and will work on an open-source model.
Artists are invited to take over Void’s space for short-term presentations of various projects.
Exploring the notion of ‘deconstruction’ and ‘reconstruction’, each artist will present work that responds to this theme specifically. In this way, the works will stand together in an attempt to bring these actions to the hosting space. Taken from its Derridean definition as a tool for critiquing the relationship between text, language and meaning, ‘deconstruction’ here is used as a way of allowing a re-questioning and ‘stripping down’ of space. We want to use VOID as a portal where place gets lost, and identity disappears. By entering this state of mind, we are able to gain a distance that allows for a questioning and observation of space, where identity and the social can be re invented. An act of reconstruction.
Vasiliki Antonopoulou - “Untitled Live”, 2017 [durational performance] & “Xpat”, 2017 [looped video]
Alice Jacobs - “Defining the Length of a Passage”, 2017 [performance & video]
Lucy Wilson - “The Fourth Voice”, 2017 [audio installation]
Elliot Zabaroff - Untitled (test for “Dopamine”, 2017 - tapioca plastic mountain), 2017 [three dimensional]
“We could say that the contemplation of the clouds puts us in front of a world where there are as many forms as movements. The movements give us forms. The forms are in motion and the movement always deform them.”
“L’air et les songes” Gaston Bachelard.
The installation is about the explosive and curious sweet essence of Athens. The short movie is a kind of silent love story, which speaks only with the eyes. It can be the sea that looks at the light during the night, or the water that look at the fire during the riot on Saturday night. The sculpture on the floor consists of different forms, colors, textures, all of them obtained during walks in Athens.
The space is a contemplating landscape of contraction between fragility and something more strong or strange.
Lucie Ferezou - "Μπλε συζητηση", 2017
Some people collect cards with images of football players.
Others offer their own portrait to their beloved ones to carry with them.
Police forces everyone to carry a photo with their specifications.
Despite their importance now, one day all those papers will be considered useless.
Yannis Kotinopoulos made his own study on portraiture, collecting thousands of portrait photos. Questioning if those images are still important. Why? Or why not?
With 2+ (electro performative duo) Stavros Yagulis, Vasilis Tsavdaridis, Gerard Wolf, scenery/creative assistant.
"A dream is a succession of images, ideas, emotions, and sensations that usually occur involuntarily in the mind during certain stages of sleep. The content and purpose of dreams are not fully understood, though they have been a topic of scientific speculation, as well as a subject of philosophical and religious interest, throughout recorded history. Dream interpretation is the attempt at drawing meaning from dreams and searching for an underlying message. Dreams can have varying natures, such as being frightening exciting, magical, melancholic, adventurous, or sexual . The events in dreams are generally outside the control of the dreamer, with the exception of lucid dreaming, where the dreamer is self-aware. Dreams can at times make a creative thought occur to the person or give a sense of inspiration."
In metaphysics, the word “dream” often means promise or desire, an utopian reality, a possibility of an improbable life inside a surrealistic context where everything is possible.
In psychology is part of the study of the unconscious mind and the source of the traumas and possible enlightenment about the characteristics of the personality. In art, “dream” is identified with the reading of the world. All the senses of the artist act autonomously and with anarchy, creating a personal kaleidoscopic vision within which human existence is put in a special time and space frame. The 2+DREAMS project is functioning as a lab for dreams with the goal to create a common dream from the public to the public. The audience is called to set a photo exhibition with the dream material and then with their eyes open watch the common dream improvised from the Performers. 2+ (electro performative duo) was created in Athens in spring 2017. They combine live music with visuals creating multidisciplinary, interactive performances. That is why they keep the prefix 2+ in the titles of their shows. Where 2 refers to the performers and + to their each creation.
We’re constantly connected, absorbed into spaces that never sleep. Flashes of light and sound beckon our relentlessly racing minds forward. Cats playing keyboard oscillate past us, followed by Kim Kardashian’s latest hair-do and yet another catastrophic airstrike. Moments later, these pulsations are indistinguishable from one another in our scrambled minds, atrocities are reduced to a spray of pixels, and it’s business as usual. We stake our humanity by selecting the “I’m not a robot” box, but how much of this do we still retain?
Is the apathy present in today’s media-saturated society a symptom of overstimulation? Or is it something more sinister? "Indistinguishable Pulsations" examines this issue via a video and text based installation. Through hosting a roundtable discussion with relevant professionals, "Indistinguishable Pulsations" will become a site for audiences to consider this issue further. The installation will become an archive, with notes from the session being recorded and presented in the space, as well as made available online.
Kate Davis - "Indistinguishable Pulsations", 2017
Kate Davis is an Australian artist and curator currently residing in Berlin. Kate holds a Bachelor of Fine Arts from UNSW Art and Design and a Graduate Certificate in Art History from the University of Melbourne, and has participated in exhibitions and residencies in Sydney, Melbourne, Berlin and Athens. Kate has worked for a number of arts organizations throughout Australia including the National Gallery of Victoria and the Biennale of Sydney, and is currently a Co-Director at Centrum , a non-profit project space in Berlin.
Bastian Fischer was born in Munich, Germany in 1980, and moved to Pretoria, South Africa with his family in 1995. After extensive travels through North and South America and a year in London, in 2003 Bastian began studying photography at the Royal Academy of Arts in Ghent, Belgium. In 2007 Bastian graduated, and his film "Of Silesian Streets And German Potatoes" won the prize for Best Young Visual Artist in Belgium, sponsored by the Fotomuseum Antwerp. In 2010 the film was awarded "Best International Biography Documentary" at the New York Independent Film Festival. Since 2007 he has worked as a freelance photographer and videographer, focusing predominantly on portraiture and reportage. After covering the refugee trail in Europe for a self-funded project, this topic remains close to his heart, and he has been based between Athens and Berlin ever since.
Dimitris Charitos is an assistant professor at the Faculty of Communication and Media Studies of the University of Athens. He has studied Architectural Design (National Technical University of Athens, 1990), Computer Aided Design and has a PhD on Interactive Design and Virtual Environments (University of Strathclyde, 1998). He has also taught at an undergraduate and postgraduate level since 1994 in Scotland and Greece (Department of Informatics, University of Athens and Dept of Architecture, National Technical University of Athens). He has authored or co-authored more than 70 publications in books, journals or conference proceedings. His research interests include: interactive design, virtual environment design, locative media, mediated spaces, ambient intelligence, digital art, and visual design. His artistic work involves electronic music, audiovisual, non-interactive or interactive, site-specific installations and virtual environments.
Maria Mavropoulou is completing a Masters in Fine Arts at Athens School of Fine Arts. Maria plays with the perception of viewers, questioning the power and role of photography in an era that is dominated by it. Maria has exhibited in Greece and abroad, and is a member of Depression Era, an artist collective comprised of 36 artists, photographers, writers, curators, designers and researchers, and responds to the urban and social landscapes of the crisis, seeking to stand outside the media montage and white noise of current public discourse by creating their own mosaic of images and texts.
Olga Stefatou studied photography at the Technological Educational Institute of Athens and in 2012 obtained a Masters degree in Multimedia Journalism from the University of Bolton, UK based in China. Her work focuses on places in political crisis and violence against women in Athens and Beijing. Through journalistic missions she has travelled extensively, especially in Asia, to document peoples struggles and to convey their insights. Her work has appeared in Greek and International publications and group exhibitions. Olga is also a member of Depression Era.
Vicky Markolefa is a communications expert, photographer and documentarist, based in Athens, Greece. She holds a BA in Business and Marketing and she has attended several courses and seminars. Vicky has been working in over forty countries, in Europe, Africa, Asia and South America, independently and with leading companies, NGOs and media, for more than seventeen years. Her projects have featured in local and international publications, festivals and exhibitions and she has been awarded for her documentary, photography and communications work. Since 2016, she is a Co-Founder of Mind the Bump, a creative team of photographers and media experts.
The team installation “Nature of Indeterminacy” consists of 2 identical projects on the conscious approach of the meaning of nature, as well as on the focus point of “disintegration”. The connection between the means of photography and the means of installation gives - while opposing - a multipart of interpretation, innuendos and criticism of the essentialism of nature. Meanings like “disintegration” and “sepsis” mobilize against the traditional ontology for nature, transforming the “essential” to a verbal subject that lays as a waif of a “nature of undefined”. The neologism “nature of undefined” refers to a content of deconstruction of the “ontology” from the “nature”, focusing on the relationships between the role of the “researcher” and “constructor” that approaches the nature. We believe that every “word” on the entity doesn’t stop declaring a “structural” leadership, the one that connects to the “social codification” as “the understanding of life”. The essence of “undefined” doesn’t only exist, but applies practices of empiricism, repositing contradictions and questions between the “being” and the “living”.
Every time a message is initiated, it embodies the vagueness of the space within the communication. When this message is received it will be perceived in another notion as it was meant to be. The reacting message repeats this transmission, thereby it forms an imperfect loop.
'Score 1, 2, 3 (Interviews)' maps out the circulations and looped movements of conversations within a group of five people from different backgrounds. Dealing within absence and presence, the group is coming together in different constellations. The work focuses on marginal gaps in the communication within the group: gestures, body-language, touch, mimic, verbalization, signs, time, etc. All conversations are recorded, remembered, videotaped, reenacted or retold through various media and then put in new settings and timeframes within a changed constellation of people.
All those conversations are filtered through various bodies and media, then finally mapped out with a limited Text editor, typing with only one font. By using different glyphs, the font changes because of a bug in the program. The group met at documenta14 summer camp intensive: school of listening and goes on working collectively.
With VOID, Esther Poppe, Eri Dimitriadi, Hamid Aaqil Shah and Diane Hillebrand are presenting the first and fundamental formulation which will be and already was interpreted in coming states and times of memory.
The open-source model is a decentralized development model that encourages open collaboration. A main principle of open-source development is peer production, with products such as source code, blueprints, and documentation freely available to the public.
Generally, open source refers to a computer program in which the source code is available to the general public for use and/or modification from its original design. Open-source code is meant to be a collaborative effort, where programmers improve upon the source code and share the changes within the community. Depending on the license terms, others may then download, modify, and publish their version back to the community.
Void is a newly created project, focusing on alternative publishing, exhibitions and workshops.
Void is also a physical space in the center of Athens, that can host your ideas.
Our goal is to engage in a series of projects around photography and other visual arts and to make Void a platform for exchanging ideas with people living both in Greece and abroad.
105 57 | Athens
13-27 APR '17
13-27 APR '17
His work is not for the faint hearted. It is possible to feel uncomfortable while looking at the work of the Brazilian artist Urso Morto (Fabricio Brambatti). Originally from the graffiti world, and now using video and photography as his platforms, he is considered the main new talent on the world’s street photography according to LensCulture.
Last year, Fabricio was the co-founder of Angústia Photo, an independent photo agency in Sao Paulo.
10 DEC '16
10 DEC '16
The winner of the first Battle Zine was
"(Re)constructing Self Pt I" by Kelli Skoularioti & designed by Nefeli Steirou.
To be published by Void in January.
The other Battle Zines were:
"A Terrible Beauty" by Manos Chrisovergis & designed by Jérôme Espitalier
"Government of Things" by Konstantinos Doupenidis & designed by Valina Mermiga
"haunH" by Vasilis Katsaganis & designed by Eirini Vrettou
"Heosphoros" by Alexei Siozov & designed by Ersi Tsiantzi
"Horses Internally" by Thalia Galanopoulou & designed by Jean Julien Bernard
"Quest" - Kira Alexandropoulo & designed by Angelina Katsouli
"Still Pace" by Loukas Kiousis & designed by Natalie Mavrota
"Super Market" by Petros Kokkolis & designed by Anna Kavvasiadi
"The Path I Walk Lights Up In Flames" by Eirini Angelidi & designed by Meghann Biteau
"Vaginal Arts Ensemble" by Christina Apostolou & Marina Fragioudaki
"Your Daily Pietà" by Fili Olsefski & designed by Andreas Vakalios
We will repeat Battle Zine in 2017. If you want to be updated about it and our new projects, subscribe to Void