Τετάρτη 15 Σεπτεμβρίου 2010

"At the edge" by Melinna Kaminari





Photography Center of Thessaloniki participates in the 2nd PHOTOBIENNALE /21st International Photography Meeting, organized by the Thessaloniki Museum of Photography (...more exhibitions in this link)
with the exhibition
"At the edge" by Melinna Kaminari

The opening is on the 17th of September, 2010 at 20.30' at Tettix Gallery, in the center of Thessaloniki/Greece. Until the end of September.

More...
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www.photobiennale.gr

Melinna Kaminari presents photographic narrations and interviews taken at the areas that define the limits between archaeological sites and the modern cities of Athens and Elefsina, a research project conducted by the photographer over a period of about 5 years (2003-2008) at the edge of archaeological sites. The ancient city meets the modern one at the boundary of an archaeological site, a place where one can observe the complexity of urban life. The exhibition focuses on the way archaeological sites in Athens and Elefsina are demarcated, protected and preserved by the state, but also on how Greeks today encounter these sites, and treat the remains of their past.

Melinna Kaminari(1968) after having studied Graphic Arts in the private school Vacalo, and Photography in the Technological Educational Institute of Athens, she followed a scholarship in postgraduate studies at Goldsmiths (University of London), in London UK, in “Image and Communication”. She is a Doctor in “Communications, Media and Arts” of Panteion University of Athens. She works in the field of Photography more than ten years, as a photographer, as a writer and as a tutor. She has taken part in many exhibitions in Greece and abroad and her work has been distinguished and published in various magazines and newspapers.

Δευτέρα 13 Σεπτεμβρίου 2010

“Places: Sterile. Two Finnish Photographers”


Photography Center of Thessaloniki participates in the 2nd PHOTOBIENNALE /21st International Photography Meeting, organized by the Thessaloniki Museum of Photography (...more exhibitions)
with the exhibition
"Places: Sterile. Two Finnish Photographers”

The opening is on the 27th of September, 2010 at 20.30' at the Municipality of Neapolis gallery.

Participants are: Kari Soinio and Harri Palviranta.

More...
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www.photobiennale.gr

City of Ghosts by Kari Soinio

The City of Ghosts shows anonymous people at the street level, photographed out of focus. Those people, walking the streets of a metropolis are juxtaposed with old corporate buildings and prestigious apartment buildings with only slices of upper floors in focus. By combining architectural photography and street photography, City of Ghosts discusses both the permanence of the city and the constant social changes in it. It also looks into the beauty of architecture and the fleeting nature of human life.
The high rise, vertical city also creates and symbolises social differences. The higher you are the higher you really are also in the socioeconomic ladder. The world looks quite different seen from street level or from the fortieth floor.
Where we live shapes and defines us. Our surroundings, both the people and the physical environment, create a sence of belonging and attachment to the place. The buildings, the physical set of our lives are crusially important for us. They are the frame.

City of Ghosts as a photographic project started from a notion of how a tourist, or any newcomer for that matter, in a city as large and impressive as New York would look constantly up in awe of the vertical city. Something that new yorkers almost never do.
As a newcomer myself, nearly twenty years ago, I myself experienced those feelings of awe and constant neck pain during my first weeks in the city. I looked and admired the beautiful architecture and sheer scale of everything and tried at the same time to avoid bumping in to people on the streets. Those experiences lead me later on to think deeply of the nature of the city and eventually to this project, City of Ghosts.
The vertical strength combined with horizontal solidity makes New York unique. A place of no comparison. New York is also a constantly changing city and my project is partly an attempt to look into that change and to respect the importance of that change.
It is also an attempt to show respect and admiration to that built environment and to see some of the risks the change can mean to the city.

I live and work in Helsinki in my native Finland. I am however also a one time resident and a very frequent visitor of New York, where I have been recently working on my project City of Ghosts.
I am strongly interested in representations of landscape and the ways we recognize and remember. I have previously experimented with out of focus images and how they recreate things we have memories of. Throughout my career I have explored themes of identity: corporeality and place, the sense of belonging somewhere.


Kari Soinio
kari@karisoinio.com
www.karisoinio.com




Harri Palviranta / project description

GFWP – The Great Finnish Weapons Project

The Great Finnish Weapons Project is a photographic study on Finnish weapons culture. Finland (population around 5.3 million) has a long tradition of hunting and weapons-bearing, and today Finland has one of the world's highest gun ownership rates with about 1.6 million firearms in private hands, plus perhaps some 30 000 to 100 000 illegal weapons in possession of the people.
There are approximately 2 500 shooting ranges around the country. Circa 80 percent of Finnish men learn to handle weapons during their compulsory military service. Guns are commonplace in Finland.

My aim is to photographically discuss and interprete issues relating to weapons cultures. Recent school shooting in Finland – in November 2007 in Jokela (9 dead) and in September 2008 in Kauhajoki (11 dead) – has increased my motivation for this.

But instead of just condemning the weapons culture, as a starting point it is necessary to admit that weapons and shooting are tied to contradictory societal practises and individual feelings – weapons are at the same time frightening, useful and fascinating. This contradictory feature is firstly related to bigger issues such as national defence practises, the right for a nation to defend herself in the case of an offensive. Secondly, weapons handling is tied to identity building, the
production of aggressive heroic malehood. Thirdly, it should be notified that shooting and hunting are sports that teach people social skills and discipline. Forthly, it really is odd that people enjoy owning items that are originally ment for killing. Following this ambiguous state of affairs, I have chosen a photographic approach that is documentary but not in an traditional observative way, rather in a reflective manner. My intention is to visualize the oddity within this culture and
aesthetisize the topic by binding it to corporeal and emotional issues.

I am constructing The Great Finnish Weapons Project as a three-chapter narrative:

Chapter I – The Touch
This chapter includes pictures of men touching weapons at homes, at the shooting ranges and at the auctions. The touch can even be warm, and therefore a weapon can appear as a fetish or as a prosthesis.

Chapter II – Shooting ranges
This chapter focuses on places that are on the one hand disconnected and isolated locations in a periferic environment, and on the other hand legitimate grounds for practising explosive acts. Shooting ranges are kind of universes of their own, where alternative discourses and practises are present, where society becomes exposed in a layered manner.

Chapter III – Chromogenic colour prints on aluminium, shot
These are plain white photographs mounted on aluminium and then shot by shooters at the shooting ranges. This chapter introduces wounds and smell of gunpowder into the series. It also deals with issues around indexicality in photography, contrasting the photographic trace with the wound caused by the bullet.

The Great Finnish Weapons Project is a work in progress, I started working with it in 2008. My intention is to conclude the whole project for spring/summer 2010. Altogether The Great Finnish Weapons Project will be a rather big in volume and intensity. It will be first exhibited in full volume in April 2010 in gallery Uusitalo in Helsinki, Finland.

Τετάρτη 14 Απριλίου 2010

Photography Center of Thessaloniki participates in the 2nd PHOTOBIENNALE/21st International Photography Meeting



Photography Center of Thessaloniki participates in the 2nd PHOTOBIENNALE /21st International Photography Meeting, organized by the Thessaloniki Museum of Photography
with four group exhibitions (one of them in three parts)



Meta-Thesis Ι

Artis Causa Gallery 6-30/5/2010

Alek Lindus (FR), Diane Katsiafikas (US), Vasilis Karkatselis, Stavros Dagtzidis - video (GR)

Meta-Thesis ΙΙ
Cultural Center of the Municipality of Polichni 23/4 - 14/5/2010





Wolfgang Brenner (DE), Katerina Mistal (SE), Boris Nemeth (SLOVAKIA), Nicolas Smirnov (ISR), Efthimis Mouratidis, Thanasis Raptis – video installation (GR)



Meta-Thesis ΙΙΙ

Papatzikou Gallery 24/4 - 17/5/2010



Sylvie Van Bochove (NL), Nermine Hammam (EG), Lee Eun Kyoung (KOR), Kari Soinio (US), Roberta Vivoli (IT), Konstantinos-Antonios Goutos, Vasilis Karkatselis (GR)

Curator: Maria Kenanidou, Art Historian



Place Thessaloniki

Alatza Imaret 26/4 - 6/5/2010
Anna Galanou, Georgios Gizaris, Dimitrios Zografos, Vicky-Maria Ioannou, Stelios Karatheodorou, Giorgos Kasapidis, Elpida Katsika, Kostas Kitsos, Panagiotis Koupatsaris, Petros Kotzabasis(να διορθωθεί και στην ελληνική εκδοχή Κοτζαμπάσης), Andreas Kromidas, Stavros Dagiouklas, Panagiotis Oikonomidis, Prokopis Orfanos, Christina Papafragou, Christina Paraskevopoulou- Panagiotis Mademlis, Eleftherios Plavos, Dimitris Rizos, Sravros Stamatiou, Thanos Siozos, Tasos Chios

Curator: Vasilis Karkatselis, Visual Artist




Place: Desert


Vlassis Art Gallery 22/4 - 15/5/2010








Annelies de Mey (BE), Quiles Menchero Carlos (ES), Marco Citron (IT), “hb-lankowitz” (Brigitta Reuter and Hubert Hasler) (AT), Eva Bogri, Vasilis Christidis, Hara, Chrisanthaki, Paraskevi Daskalopoulou, Argiris Liapopoulos, Vasiliki Benetatou (GR)

Curator: Thanasis Raptis, Photographer


There is no there, there
Tettix Gallery 29/4 - 20/5/2010

Liudmila Velasco (CU) & Nelson Ramirez de Arellano Conte (CU), Pasquale Calone (IT), Annemie Augustijins (BE), Annelies De Mey (BE), Brad Temkin (US), Konstantinos Fountos, Petros Kotzabasis, Dimitra Ermeidou, Giannis Cholongounis (GR)

Curator: Georgia Kourkounaki

Σάββατο 27 Φεβρουαρίου 2010

International Photography Contest “Plant biodiversity - the art of nature”


BOTANICAL GARDEN OF THE MUNICIPALITY OF STAVROUPOLI
PHOTOGRAPHY CENTER OF THESSALONIKI

International Photography Contest
“Plant biodiversity - the art of nature”

The Botanical Garden of the Municipality of Stavroupoli and the Photography Center of Thessaloniki, aiming at contributing, informing and highlighting the problem of the loss of biodiversity, announce the third international photography contest on the subject: “Plant biodiversity – the art of nature”. The United Nations has designated 2010 the International Year of Biodiversity. We invite photographers to grasp the chance and implicate creatively their art with the international agony for the environment.
The term biodiversity means the total of live organisms in the ground (biological genders and species), the variety among their relations (ecosystems), and the pictures (landscapes) that man has for the natural environment, as well. Biodiversity refers to 4 levels that constitute an entity.
The first level is that of genetic biodiversity, that is to say the breadth of the hereditary origins (gene – chromosome) of a particular kind.
The second level is that of biodiversity of species of flora and fauna. Τhat is to say the total of individuals of common origin with the same morphological traits (plant kingdom – sum – class – order – family – genus - species – subspecies – variety – form – clone) e.g. Species: citrus limon – lemon tree, citrus sinensis – orange tree, citrus aurantium - sour orange tree etc.
The third level known as biodiversity of ecosystems (habitats) is expressed with the crowd of combinations of plants and animals’ species that is met in a concrete region.
The fourth level is that of biodiversity of landscapes, which is expressed with the crowd of types of landscapes (abiotic and biotic elements) that is presented in a region or in a country.
Biodiversity is today tried intensely because of the multiple pressures that accepts from human interventions and climatic change. The loss of biodiversity hides important dangers for the quality of life and the economic growth. The problem must be pointed out and measures must be taken from governments, societies and each one separately.
In these frames and with emphasis in the Greek plant biodiversity, professional or amateur photographers are called to impress with their personal glance and to attribute with each possible way the subject. The competition is open in photographic aspects that can begin from traditional (classic) photograph and reach up to modern, conjectural, manufactured or digital. Restrictions of technical, chromatic or other interventions in the photographs are not raised by the organizational committee.


Terms of the contest
● Participation in the contest is free. Any professional or amateur photographer may submit photographs, with no discrimination whatsoever.
● Any interested individual may enter the contest with a portfolio, single photographs or a series of photographs.
● All images should be submitted (by post or in person) only at the following address:
Botanical Garden of Stavroupoli
Pericleous 9A Stavroupoli 56431 Thessaloniki, Greece
To the attention of: Photography Contest
● Submission deadline: 15-07-2010 (postmark)
● The jury panel shall consist of three members: one representative of the Stavroupoli Municipality, one accomplished photographer of Photography Center of Thessaloniki , and Mr. Yannis Tsalikidis, Professor of Landscape Architecture, Faculty of Agronomy, Aristotle University of Thessaloniki.
● The judgement of the jury panel shall be final. No objection or other claim shall be accepted.
● Each photograph must be printed on paper size of at least 20×25 cm, ready for presentation, and for the needs of the catalogue in digital form with 22cm the big side and analysis 300 dpi. At the back of each photograph (even if it is part of a series) the following information should be written: title of the photograph (if any); location where the photograph was taken; the photographer’s full name, address, phone number and e-mail address (if any).
Languages: Greek, English, German.
● The submitted material shall not be returned.
● The images to be selected by the jury panel shall become the main part of a large photography exhibition to be initially presented at the exhibition premises of the Stavroupoli Municipality, and subsequently in other locations inside and outside Greece.
● The first exhibition of the photographs shall begin at 15st September 2010.
● The expenses for the exhibition of the images (in Stavroupoli as well as in the other locations inside and outside Greece) shall be borne by the organizer.
● At least 60 of the prize-winning photographs of the exhibition shall be included in a luxurious catalogue / album, which shall be sent to all prize-winning photographers.
● 15 of the photographs shall be included in a 2011 calendar to be published by the Botanical Garden of the Stavroupoli Municipality.
● Additional prizes shall be announced very shortly. The prizes shall be awarded at a special ceremony.
● The contest results shall be announced on the Internet and made known to all participants (www.stavroupoli.gr και www.fkth.gr).
● The copyright of the catalogue and calendar belongs to the Botanical Garden of Stavroupoli. The copyright of the individual photographs belongs to the respective photographers.
● All works may be used to publicize the contest and its goals in any medium and in any manner. The contest participants are not entitled to any remuneration whatsoever.
For further informations the concerned can adress by email to botanic.gard@stavroupoli.gr
● Participation in the contest means the unconditional acceptance of all terms referred to above.


Aim of the photographic contest is to point out the plant biodiversity, the biodiversity of ecosystems, the biodiversity of landscapes, so as more citizens and administrations take knowledge about the issue, become more sensitized and mistakes in the management of nature’s diversity to be corrected. The way all these will be bond with the art of photography and will be imputed originatively is up to the photographers.


FEW WORDS ABOUT BIODIVERSITY

In our planet exist an inconceivable number of beings. Nowadays, however a lot of factors threaten biodiversity. The downgrading, the breaking to pieces and the destruction of biotopes, the unsustainable activities, the overexploitation of soil, forests, lakes and oceans, the pollution of water, soil and atmosphere, the intensive agriculture, the excavations, the reconstruction and the invasion of foreign conquering species are some of the elements that damage biodiversity.

Biodiversity in Greece
Greece disposes a big variety of animals, plants, mushrooms, algae, micro-organisms and ecosystems, one of the largest in Europe. Found in the crossroad of three continents, with varied geomorphology and big climatic breadth, but also with particularly long-lasting history of coexistence of human with nature, Greece has acquired a remarkable biodiversity with special plant and animal forms, enough from which can not be met nowhere elsewhere in the world.
It is calculated that exist about 6.300 taxa (species and subspecies) of plants from which above 700 are endemic. The variety of vegetation, of flora and fauna, is also reflected in the big variety of presented ecosystems, from semideserted Vai palm forest in Crete up to the cold betula, pinus and abies forests. This diversity of ecosystems is also presented in a small relatively surface. In distance of 150 km from Kavala to central Rodopi, man can cross all types of the mediterranean, middle-europe and north-scandinavian bands of flora. However, even if we dispose rich biodiversity, we don not protect her and we have not appreciated her value either as state or as society.

The value of biodiversity
The maintenance of biodiversity has big importance for the humanity and for all forms of life. Among the values of maintenance of biodiversity are included:
The socio-economic values by the profits that result from the use of biodiversity, particularly for the elimination of poverty worldwide.
The medico-pharmaceutical values by the biological substances on which are based almost all the therapeutic methods.
The aesthetic and cultural values that cover the deeper needs of human.
The ecological values that are related with the survival and the normal function of most ecosystems which contribute in the maintenance of the environmental conditions of our planet.
It is therefore realized that biodiversity decreases worldwide and that the rhythm of the disappearance of species grows more than never, with simultaneous reduction of the extent of their biotopes. This loss has as a result the downgrading of services and goods that ecosystems provide, while the ability of plant societies to support the future generations is jeopardized as well.
The biodiversity is threatened today by the rapid changes that human provoked in our planet. The way and the intensity man uses the natural resources create multiple threats against environment, such as the disappearance of species, the modification and downgrading of biotopes and the general exhaustion of natural resources. Therefore, it is our responsibility to protect biodiversity.
BOTANICAL GARDEN OF STAVROUPOLI PHOTOGRAPHY CENTER OF THESSALONIKI





GERMAN

BOTANISCHER GARTEN DER STADTGEMEINDE VON STAVROUPOLI
FOTOZENTRUM VON THESSALONIKI

Internationaler Fotowettbewerb
" Pflanzen- Biologische Vielfalt - die Kunst der Natur"

Der botanische Garten der Stadtgemeinde von Stavroupoli und das Fotozentrum von Thessaloniki, um des Problems dem Verlust der biologische Vielfalt beizutragen, köndigen den dritten internationalen Fotographie Wettbewerb auf dem Thema: " Pflanzen-– die kunst der Natur". Die Vereinten Nationen haben 2010 das internationale Jahr von Biologischer Vielfalt gekennzeichnet.
Der Term Biologische Vielfalt bedeutet die Gesamtheit der Beleb-Organismen in der Erde (biologische Gene und Sorte), die Vielfalt unter ihren Relationen (Ökosystemen), und die Abbildungen (Landschaften), das Mann für die natürliche Umwelt hat. Die biologische Vielfalt bezieht sich auf 4 Ebenen, die einen einzigen Satz sind.
Die erste Ebene ist die genetischer Vielfalt, nämlich die Breite der erblichen Wurzeln (Gene und Chromosomen) einer bestimmten Sorte.
Die zweite Ebene ist die biologische Vielfalt der Sorte, der Flora und der Fauna. Nämlich die Gesamtheit den Atomen der allgemeinen Ursprung mit dem gleichen morphologischen Merkmale (Pflanzenreich – Summe – Klasse – Ordnung – Familie – Genre –Sorte – Untersorte – Vielfalt – Form – Klon), zum Beispiel, Sorte Citrus limon – Zitronenbaum, Citrus sinensis Orangenbaum, Citrus aurantium – Sevilla Orangen.
Die dritte Ebene, als die biologische Vielfalt von Ökosystemen bekannt ist, wird mit der Masse von Kombinationen der Pflanzen und der Tiere Sorten ausgedrückt, der in einer konkreten Region getroffen wird.
Die vierte Ebene ist die biologische Vielfalt von Landschaften, der mit der Masse der Arten der Landschaften ausgedrückt wird (Biotischen und Abiotischen Elemente), das in einer Region oder in einem Land dargestellt wird.
Die biologische Vielfalt wird heute intensiv wegen des mehrfachen Drucks versucht, der von den menschlichen Interventionen und von der klimatischen Änderung annimmt. Der Verlust der biologische Vielfalt versteckt wichtige Gefahren für die Lebensqualität und das Wirtschaftswachstum. Das Problem muss unterstrichen werden und Maßnahmen von den Regierungen, von den Gesellschaften und jeder von separat ergriffen werden müssen.
In diesen Rahmen und mit Hauptgewicht im griechischen biologische Vielfalt, werden Fachmann oder Bewundererphotographen, um mit ihrem persönlichen flüchtigen Blick zu beeindrucken angerufen und mit jeder möglichen Weise das Thema zuzuschreiben. Die Konkurrenz ist in den fotographischen Aspekten geöffnet, die von der traditionellen (klassischen) Fotographie anfangen und bis modernem, abbildendem, hergestelltem oder zu digitalem erreichen können. Beschränkungen der technischen, chromatischen oder anderen Interventionen in den Fotographien werden nicht vom organisatorischen Ausschuss gesetzt.

Teilnahmebedinungen
Die Teilnahme am Wettbewerb ist kostenlos. Sowohl professionelle Fotografen als auch Laien können ohne jeglichen Unterschied Fotos einsenden.
Die Interessenten nehmen mit einem Portfolio, einzelnen Fotos oder Fotoserien am Wettbewerb Teil.
Die Werke sind ausschließlich an die folgende Adresse zu schicken oder dort abzugeben:
Botanischer Garten von Stavroupoli
Perikleous 9A Stravroupoli 56431
Thessaloniki - Griechenland
Mit dem Hinweis, dass sie für den Fotowettbewerb bestimmt sind.
Die Einreichungsfrist für Fotos ist der 15.07.2010 (es gilt das Datum des Poststempels).
Die Jury setzt sich aus drei Mitgliedern zusammen und wird vom Stellvertretenden Bürgermeister von Stavroupoli, einem renommierten Fotografen und dem Professor für Landschaftsarchitektur der Landwirtschaftlichen Fakultät der Aristoteles-Universität Thessaloniki, Herrn Tsalikidis Iannis, gebildet.
Die Entscheidung der Jury ist endgültig, Einsprüche oder sonstige Klagen sind unzulässig.
Alle Fotos sind auf Papier gedruckt und mit einer Abmessung von mindestens 20 x 25cm einzusenden und zu den Notwendigkeiten des Kataloges in der digitalen Form mit 22cm, das große Seite und Analyse 300 dpa. Auf der Rückseite eines jeden Fotos (auch wenn, es als Teil einer Serie eingeschickt wird) sind der Titel (sofern vorhanden), der Ort der Aufnahme des Fotos, Vor- und Zuname des Fotografen, vollständige Anschrift, Telefon und E-Mail (sofern vorhanden) anzugeben. Zulässige Sprachen: Griechisch, Englisch und Deutsch.
Das eingeschickte Material wird nicht zurückgeschickt.
Die von der Jury ausgewählten Werke bilden die Grundlage einer großen Fotoausstellung, die zunächst im Ausstellungsraum der Gemeine Stavroupoli gezeigt wird und anschließend in Griechenland und im Ausland zu sehen sein wird.
Die erste Einweihung wird am 15st September 2010 stattfinden.
Die Kosten für die Aufhängung und Präsentation der Werke in der Ausstellung übernimmt der Organisator. Das gleiche gilt auch für die anschließende Wanderausstellung.
Mindestens 60 der prämierten Fotos der Ausstellung werden in einen luxuriösen Katalog / Fotoband aufgenommen, der allen prämierten Fotografen kostenlos zugesandt wird.
15 der Fotos werden in einen Kalender aufgenommen, der vom Botanischen Garten der Gemeinde Stavroupoli für das Jahr 2011 herausgegeben wird.
Weitere Preise werden in einer gesonderten Mitteilung bekannt gegeben. Diese Preise werden auf einer speziellen Festveranstaltung verliehen.
Die Ergebnisse des Wettbewerbs werden im Internet veröffentlicht und allen Teilnehmern mitgeteilt. ( www. stavroupoli. gr und www. fkth. gr)
Das geistige Eigentumsrecht am Katalog und am Kalender hat der Botanische Garten von Stavroupoli. Die geistigen Eigentumsrechte an den Fotos haben die Fotografen.
Die Werke können für ihre weitere Veröffentlichung im Rahmen des Wettbewerbs und seiner Ziele in jedem beliebigen Medium und auf jegliche Art und Weise verwendet werden, ohne dass daraus ein Anspruch auf ein Honorar des Teilnehmers entsteht.
Mit seiner Teilnahme am Wettbewerb erklärt der Teilnehmer die vorbehaltslose Anerkennung der vorstehenden Bedingungen.


Das Ziel der fotographischen Konkurrenz ist die pflanzen - biologische Vielfalt, die biologische Vielfalt von Ökosystemen, die biologische Vielfalt von Landschaften unterstreichen werden, besonders unseres Landes, damit mehr Auskunft und Leitungen nehmen wissen, die Menschen mehr sensibilisiert werden und Fehler im Management der Natur korrigiert werden.




BOTANISCHER GARTEN DER STADTGEMEINDE VON STAVROUPOLI
FOTOZENTRUM VON THESSALONIKI

Δευτέρα 24 Αυγούστου 2009

"A-PROSOPA (UN-FACES)” in Lima, Peru




Photography Center of Thessaloniki participates in the International Photo Festival "Mirafoto 2009",
in Lima, Peru on October, 2009
... in gallery "El Ojo Ajeno" (Centro de la Imagen)
The opening is on the 20th of October, 2009.
Title: "A-PROSOPA (UN-FACES)” (Portrait photography after portrait)


“A-PROSOPA (UN-FACES)”
( Portrait photography after portrait)

ASPECTS OF GREEK PHOTOGRAPHY
From the very beginning, photography was mainly involved in the use of human form as subject and object. From the simple shot to scientific photography, and from the illegible and imageless, the presence of human form has been used as a tool, able to express the untold and the questioning of each era.
What is in the photographers’ mind these days?
The Photography Center of Thessaloniki is presenting a representative panorama of Modern Greek photography through the works of 12 photographers expressing unique parts of the trends and practices found in the landscape of Greek photography nowadays. All generations of photographers are represented and all aesthetics schools and trends, from realistic photography to directed photography and digital which has been created from nothing. Photographers equipped with the photographic image and through their personal view, present portraits. Sometimes the photographers use special techniques and give unique form in their works.
Participants are: Stavros Dagtzides, Vassilis Karkatselis, Thanassis Raptis, Babis Venetopoulos, Efthimis Mouratides, Argyris Liapopoulos, Giorgos Papacharalampous, Ismene Goula, Achilles Savvopoulous, Abraham Pavlides, Dimitris Triantafillou, Dimitra Ermeidou.
Until the 12th of November, 2009
The multi-faced man or/ and the faceless man or/ and the man-face… Man- body- face- mask- display case but also soul as an exhibit. No polishing and shining, dark eyes, dim skin, tight lips… or, moments of joy, excitement, sparkling eyes… or, … from the black of the sea to the light blue of the sky and back to black again… Detached faces, sensual faces, sly faces harmless faces… Unalarmed faces or innocent ones…






Vassilis Karkatselis is photographing friends and strangers in the night, when everything is different. He is crowded in public WCs, with friends and strangers, because the dim light is enough to show the inner glow and the character of his models. The use of the medium is traditional whereas the result is not. Dark is disclosing and hiding the same things with light. His colorless pictures underlie the view of this project that has been open for years.

Efthimis Mouratides is using photography in an effort to comment the changes that hide behind excessive exposure and publicity. He is searching the face of the man after the wear of everyday life. He is inventing fortuities. The photographer is there to record the invisible and obscure results of the actions held by his fellowmen. His pictures are posters after Rotella, after the decoupage.

Αrgyris Liapopoulos sharpens our appetite since he is showing man’s primitive need for food. Manuel Macbeth Montalmpan is mentioning in one of his books: “Eating means killing and devouring an existence that has been living. It is either an animal or a plant. If we were devouring the animal raw we would be regarded uncivilized. But if we marinate the animal and cook it with spicies from Provence and a glass of an old, sweet wine, then we have accomplished an exceptional cultural venture, which is nonetheless based on cruelty and death”.

Giorgos Papacharalampous is presenting young girls who have reached the stage of their first puberty. The photographer is doing so in an innocent way yet, he is trying to seduce us. In his portraits, assisted by dramatic lighting, we see the coexistence of the doll-toy with fatal woman, the pubertal disrespect with the tender and innocent child’s heart…

Babis Venetopoulos in his work called “Time”, is focusing on how time is influencing and transforming people. We see the gradual and inevitable transformation of a man from young to old and vice-versa. It is a partial and impalpable substitution of the face and body of himself with the face and body of his father, who is in any case the patient model- protagonist in the photographer’s works. The perpetual passing from the young body to the old one and vice –versa, as well as the simultaneous coexistence of two bodies in one, gives a shocking and complex transformation that makes viewers to suffer with anguish. This work is related to the presentation, with the use of technology, of the instant wear of the body and the destruction of spirit.






Abraham Pavlides is looking for his subjects wandering in Greece. From the region Ferres in Evros, to Dolo in the Greek-Albanian border, to Mani, mountain Arcadia and the Aegean islands, the photographers is looking and collecting information. In this frame, he is taking advantage of all the time he has in his disposal, he is pursuing people to surpass their distrust against the lens, and allow him to take their pictures…

Stavros Dagtzides is commenting on Time. Time that is flying and is unbeatable. The photographer has taken shots of his close environment, seven years ago. Eight subjects. The woman in the photograph is holding in her hands photographs of various stages of her life, important moments of her life that have left a mark on her life. The ninth photography is representing the current stage of her life and the tenth shot…. will be taken after seven years. It is an ongoing project. The red neon light is the life line, the biological continuity and the discontinuity of each and everyone of us.

The works of Dimitra Ermeidou play the role of visual poems or psychographies. She is interested in the eternal conflict between presence and past and the way the human identity as well as the basic human virtues and ethics, the individual and collective subconscious are been shaped by pre-fabricated systems.






Thanassis Raptis’s setting is causing mixed emotions: well-bred women are photographed in their familiar environment and the background is a decorated wall of their homes. However, the conventional frame with the work of art is presenting a disemboweled animal that has been hit by a car in the Greece.

Achilles Savvopoulos is occupied with the transformations of what is given, of the stereotypes, of the man’s image. Viewers can see the transformation of what is obvious in an environment that is from folklorist to kitsch. Man is constantly changing but deep down, he is the same. Neither the mask nor the costume could manage to stop this process.






Dimitris Triantafyllou (personal photography) is using photography in order to construct and record a personal space and time that is constituted by memories, past and future, senses, lust, fear and mainly instinct. Through the mixing of all these ingredients, he manages to present something clear and fresh, an aroma of expression that gives him the possibility to define his true colors.





Ismene Goula, being a young photograph, likes to put under test the works of photographers that have become myths of photography and at the same time, she is testing her joys and hopes on their works. In her works she is renegotiating the history of art through the art of Jan Saudek, a Czech photographer born in Prague in 1935 who was the reason that she was involved in photography.


The photographers...


Dimitra Ermeidou was born on 1975 in Athens, Greece. She studied painting at the School of Fine Arts of the Aristotle University of Thessaloniki, with Professor Makis Theofylaktopoulos and graduated with honors. As part of her studies she took part at the Pictor European Laboratory. Artworks by Ermeidou are kept at: BALA Collection, ACG Art in the American College of Greece and at private collections. She lives and works in Athens

d.ermeidou@yahoo.gr


Ismini Goula was born in 1980 in Thessaloniki/Greece.
High school graduate, jewelery design degree, seminars on direction,
documentary and video art (IRIS) _duration 2 years
Member of the Photography Center Of Thessaloniki in which
she studied photography for 4 years .
At this moment she lives and work in Berlin.
She has participated in 15 group-exhibitions in Greece and abroad.

47, Filippou- 54631 Thessaloniki Greece- ismini_goula@yahoo.gr / http://www.myspace.com/ismini_goula


Efthimis Mouratidis was born in Aravissos Prefecture Pella in 1961.
Attended photography courses in Photography Group of Triandria Thessalonica.
As a founding member and a current member of the administration board of the Photography Center of Thessalonica, he has presented work in many exhibitions, both individual and group.
Has lived in Thessalonica, working in the field of creative photography, since 1990 and video art since 2007.

57  Agiou Stefanou Str. 56727 Neapoli Thessaloniki Greece emouratidis@the.forthnet.gr


Vassilis Karkatselis
 Born in Athens in 1952, he attended several painting, photography and engraving classes and presented his engravings and paintings in 11 solo and in more than 50 exhibitions in Greece and abroad. Participated in more than 200 group photography exhibitions and held 23 solo photo exhibitions (some of them are in tour around the world). He took part in numerous happenings, installations and group actions with the purpose of broadening the communication of public with works of art. 
 From 1984 he moves to Thessaloniki and works mainly with engravings and creative  photography. In 1984 he founds the “Photography Group of Triandria”, in 1995 the group “Praxis- Photographers Initiative”, in 1998 the multiform group “FOTODRAMA”, and in 2001 the “Hellenic Lomographic Society”. In the past, he published 23 issues of a magazine titled “Pages about Photography” which was a theoretical magazine for “photography beyond bounds”. In the past he was member of the consultative committee of the Thessaloniki Museum of Photography, of the committee for photography of the Organization “Thessaloniki Cultural Capital of Europe 1997 ”, and art consultant of the Gallery “Artistic Creation”.
Today, he is president of the artistic committee of the Photography Center of Thessaloniki and member of numerous groups of art.

9 Karaiskaki St. -Sikies Thessaloniki Greece-56626 Greece katselis@the.forthnet.gr


A private employee, Abraham Pavlidis has been taken photographs regularly since 1990.He has shown his work in Ankona, Italy (2002), Photographic Center of Thessaloniki (2002), and the group show «Time depositories», at the Thessaloniki Museum of Photography (2003).His photography is a natural extension of his keen interest in travelling and his desire to record places where people work, worship and live their private lives- places charged with memory and tradition.

info@fkth.gr


Thanassis Raptis was born in 1962, lives in Thessaloniki, Greece and has studied the Law, at Aristotle’s University. He belongs to the persons that founded Photography Centre of Thessaloniki and at this time he is member of its Council and member of its Art Committee. He has been responsible for the production of many photo exhibitions. He is writing articles about modern art in magazines of Thessaloniki. For the last fifteen years he has been participant of more than forty group photography exhibitions and he has also organised seven exhibitions of his own. His work has been published in many catalogues and magazines. Except these, narratives, tales and translations from Spanish have been published in literary magazines.

22,Serron str -Thessaloniki- Greece raptisth@the.forthnet.gr


Stavros Dagtzidis was born in Komotini (Greece). He studied pharmacist, photography and cinema.
Founding member of the photography Center of Thessaloniki, has participated in a lot of exhibitions in the Greece and abroad.
Occupied with photography, installations and video.

8, Ag.Spiridonos str. -Triandria 55337 -Thessaloniki- Greece stavrhsd@otenet.gr


Achileas Savopoulos was born in 1958 and is living in Kavala. He got his degree from the University of England and USA. Member of EFE and Photographic Club in Kavala and for some years he was the president. He participated in many Group Shows and he had One Man Shows with many awards and honorable mentions in greek and international contests. He cooperated with greek and foreing magazines in the production of audio visual slide shows and video clips.

artwarehouse@hotmail.com


Argyris Liapopoulos was born in 1959 in Klidi Imathia. He studied economics at the University of Thessaloniki. With the photo involved systematically since 1988. Developed a wide variety of action with reports, happenings. Photos and his work was done covers in books, a material book, published in magazines and tributes have been in the daily press and the media.
He took part in individual and group exhibitions in Greece and abroad.
He lives and works in Thessaloniki

35 Lehovoy Str.,546 26, Sykies Thessaloniki www.liapopoulos.gr argirisi@otenet.gr


Giorgos Papacharalampous was born in 1983. He studied in the technical university of Thessaloniki, automatization. In 2000 he studied for two years photography in Photographic center of Thessaloniki. He attended a workshop of Anders Petersen (2003) and currently working on his master’s in photography in Ostkreuzschule in Berlin. His photography has been displayed in several group exhibitions in Greece and abroad.

photogeorge@gmail.com


Dimitris Triantafillou was born in 1967, studied Physics and Mathematics (B.A. Macalester College, St.Paul Minnesota) and has a Core Degree in Asian philosophy (Macalester College) and an MA in Biophysics (University of Minnesota). He also has studied photography at the Minneapolis College of Art and Design, MN. He has attended two workshops given by the Swedish Master Photographer Anders Petersen. One in Thassos and one in Kavala. He currently works as a freelancer in Photography and teaches photography courses.

dimitris.triantafyllou@gmail.com http://www.dimitristriantafyllou.com/


Babis Venetopoulos was born in 1973. Master in «Digital Forms of Art», School of Fine Arts, Athens (2003-2005). Visual and Applied Arts Department of the School of Fine Arts, Aristotle University of Thessaloniki, studio of Yiannis Fokas (1996-2002). Interior Design, IEK Delta of Thessaloniki (1993-1995). Co-founder of Minotaur Digital Arts, a production company specialized in 3D Animation and VFX for television and cinema. He is teaching in Visual and Applied Arts Department of the School of Fine Arts, Aristotle University of Thessaloniki (studio of Kyriakos Katzourakis). Lives and works in Athens and Thessaloniki.

babis@mda.gr
























PHOTOGRAPHY CENTER OF THESSALONIKI (GREECE) www.fkth.gr
The Photography Centre of Thessaloniki is a non-profit company running almost for the last ten years in Thessaloniki, Greece, in the Balkans and lately across Europe.
In Greece Photography Centre of Thessaloniki became known all these years especially due to the long struggle for artistic photography and of course, through the exhibitions and other events (street actions, school guided tours, intervention with articles on press).
Photography Centre of Thessaloniki has collaborated with almost all of the museums in North Greece as the Photography Museum of Thessaloniki, the State Museum of Contemporary Art, Museum of Byzantine Culture, Water Supply Museum of Thessaloniki, Folk life Museum of Xanthi, with foreign institutes (Goethe Institute, French Institute, Italian Institute), as well as with many municipalities and prefectures.
It has also become known in the Balkans during the last fifteen years due to the development of collaborations and exchanges with individual photographers, but also with all the important institutions and festivals (museums, universities, galleries, photography centres, and photography festivals) that foster the photography in the Balkans through events under the name "Aspects of Balkan Photography".
Since 2005, the activities of the Photography Centre of Thessaloniki are spread across Europe through its involvement, as founder member, in the Photofestival Union, in which take part the most important nongovernmental photography festivals from all European countries.
The site of Photography Center of Thessaloniki www.fkth.gr accomplished something unique: To provide with documents, CVs and photography material almost all of its exhibitions and also to include links with photos from the most prominent Greek and Balkan photographers.
The Photography Centre of Thessaloniki publishes also many catalogues, photo albums and DVDs, especially for its international exhibitions in Greece.
The future orientation of Photography Centre of Thessaloniki consists in organising important festivals and collaborations with prominent agents and festivals in Greece, the Balkans and across Europe. This orientation will follow the way the company paved so far, through institutions that the same company created and developed successfully ("Aspects of Balkan Photography"), involved in their foundation and later supported (Photofestival Union) and through which it is presented on the occasion of the 1st International Meeting of Photography Centres in May 2008 in Spain.
The standards, according to which the photographers are judged whether to participate in the company or not, are very high and is given emphasis on the enrichment of the company with young and competent photographers, encouraging their participation in high level festivals for grabbing opportunities and collecting experience.

Τετάρτη 20 Μαΐου 2009

“TOPOS-PLACE-LAND-LOCALITY-LOCATION-POSITION"


LOOKING FOR ARTISTS 2nd announcement

International Photography Contest
Subject: “TOPOS-PLACE-LAND-LOCALITY-LOCATION-POSITION"



Photography Center of Thessaloniki, Greece proclaims an international photography competition on the subject  “TOPOS-PLACE-LAND-LOCALITY-LOCATION-POSITION",  in the frame of  "THESSALONIKI PHOTOBIENALE 2010".

We are interesting in all fields of contemporary photography. The final idea of what the project is going to look has to be fixed by the curators, after they are going to have all the portfolios in hand. So from documentary photography and reportage, to conceptual, videos, installations and art series are, all, welcome. The building is big with many rooms, and so we have plenty of space for something interesting on contemporary photography.

All participations should be submitted to: katselis@the.forthnet.gr  under the title “TOPOS-PLACE".
The e-mail should include: low definition photographs, c v, text (if there is one), and other details about the development of the photographs (e.g. for an installation) and communication details.

If not by mail, printing material (catalogues or printed photographs) should be submitted by post, under the same title “TOPOS-PLACE", only at the following address:
STAVROS DAGTZIDIS
8, AG.SPYRIDONOS STR.
55337 TRIANDRIA
THESSALONIKI
GREECE
Tel.+30 2310920988 Cel.+30 6977173642

Submission deadline 15-9-2009

We are inviting our colleagues, photography festivals, organizations representing photographers and the photographers themselves, who are interested in participating in this exhibition, to submit their portfolios.

More details about the exhibition (after October of 2009) in www.fkth.gr or katselis@the.forthnet.gr



Photography Center of Thessaloniki

Κυριακή 24 Αυγούστου 2008

“FAITH - Places and Manners of Worship”


...in the frame of Athens Photo Festival



Photography Center of Thessaloniki is participating with an exhibition, under the title: “FAITH - Places and Manners of Worship” , in Athens Photo Festival www.hcp.gr (former International Month of Photography). The opening is on the 30th of October,2008, in Tsichritzis Visual Arts Foundation, situated in a marvellous old building in Kifissia, Athens.

















Participants are:

Matteo Danesin (ITL), Miya Ando Stanoff (US), Guillermo SrodekHart (ARG), Jan Van Ijken (ESP), Nermine Hammam (EGYP), Patrick Brown (THAI), Toledano Philip (GB), Marco Ambrosi (ITL), Janek Markstahler (GER), Paula Muhr (GER), Dimitris Prokopiou, Stefania Mizara, Basilis Karkatselis, Stavros Dagtzidis, Thanassis Raptis, Argyris Liapopoulos, Efthimis Mouratidis, Dimitra Ermidou, Avraam Pavlidis, Giannis Chologounis (GR), Florence Messager (GR-FR).



The exhibition “FAITH - Places and Manners of Worship” is the outcome of a long-standing effort to explore faith and the way it can be rendered in terms of cross-cultural photographic time.

Many artists in the history of photography traced, documented or analyzed through their images, this eternal power or weakness of man. Still, nowadays, for a large number of creative artists, this is not enough. We know things we never knew before, we conceive inconceivable situations, we sense globalization, all in spite of our inner immutability. The language of the medium has changed and so have our expectations regarding art, the ways in which a photographic work is met and perceived by the public, our concepts about the coexistence of different elements; thereby, the way we talk about faith and worship, the way we photograph it, have also changed.

The way and the extent that the spirituality of the fixed photographic image is involved in the spirituality of any faith is a primary feature of this exhibition. Transcending the already known through desire for a future integration of the transaction, results in actions and defines manners that, despite their singularities, have much in common regarding art and worship of the divine.

In this exhibition documentary and documentation photography coexist with scenographed, conceptual and pictorial photography. What is manifested is the intention of the artists to blend traditional with contemporary elements: the given elements with questions that may be generated, the eternally impulsive with the documented (and therefore dead) present, the respect for the principles of others and the undermining of those principles.

The insatiable curiosity of the creative act crosses the complex and manifold ways of expressing faith and worship, as a means to be grateful and explore what lies beyond man, and therefore, beyond photography.



Matteo Danesin (ITL), born in 1971, has opted for an emotional approach in his study of the religious rituals and festivals of the African Pentecostal community of Verona. These Africans have found a relatively easy way into Europe, combining faith, the finding of employment and immediate obtaining of the necessary residence papers. The intermediate link is represented by the orders of monks and missionaries who work in their birthplace, Africa, attempting to make converts. Without any attempt to hide behind his lens, the photographer demonstrates that the Africans’ embracing of the faith was not a conscious fraud designed to help them secure a visa.

Miya Ando Stanoff (USA) presents her audience with minimal landscapes, landscapes of meditation and prayer, landscapes which have no message – these are not photographs of something, but the thing itself. Stanoff’s images are not representations of sky, sea or land; they are not landscapes of the real and do not challenge us to identify them with a particular place, an atmosphere, a situation or time; they do not even evoke or refer to anything specific. These photographs are neither colour nor black-and-white, but landscapes of another Orient – Zen landscapes. Is the spectator reflected in the work? Is there any place for him in this transcendental universe? Is this a place to relax and meditate?

Guillermo Srodek-Hart (ARG), born in 1977, has made the main focus of his work the innumerable offerings, all coloured red, to be found all across Argentina – left at shrines to the country’s contemporary Robin Hood, Gauchito Gil, who deserted from the army because he refused to fight against his own fellow citizens. On the day of his execution all sorts of strange events occurred, interpreted as miracles, powerful enough to transform him into a folk hero.

Jan Van Ijken (NL), born in 1965, takes photographs of Easter celebrations among Catholics in Spain. Holy Week is marked with services in which the faithful wrap themselves in shrouds, wear painted cowls and touch one another with the heavy statues and crosses they carry in their hands. The service, a centuries-old tradition in Seville, only ends with the setting of the sun.

Nermine Hammam (EGYPT), born in 1967, photographs the Ashura, in which the Shiite Muslims of Iran, Iraq, Lebanon and Bahrain honour the memory of the struggle to the death, many centuries ago, between the descendants of the Prophet Mohammed. On the day of commemoration they flagellate themselves with chains and sharp instruments – the self-inflicted pain being a proclamation of religious faith.

Patrick Brown (GB/THAI), born in 1969, records in his photographs a vegetarian religious ceremony which takes place each year in the south of Thailand. The celebrants honour their gods by placing their hands in the fire, piercing their bodies with needles and inflicting on themselves other forms of suffering.

Toledano Philip (GB), born in 1968, offers a visual representation of the hopes and anxieties of contemporary America, in a challenging and caustic commentary on the lifestyle and morals of a country riddled with contradictions.

Marco Ambrosi (ITL), born in 1959, seeks to photograph the West African immigrants of Verona, who find their way to Italy with the assistance of the Pentecostal Church. He makes arrangements beforehand with the congregation, drives up to the church in a van and arranges an armchair (always the same one) in a little makeshift studio. As soon as the service is over he invites the congregation one by one to assume a pose they feel comfortable with. All are apparelled in their Sunday best, and the photographs highlight the imposing dignity of these worshippers.

Janek Markstahler (GER) has for years now been observing the religious practices of members of various faiths (all of them – and this is no accident – sharing many common features), their uses of sounds and objects in their worship of the supreme being.

The crowns of thorns, rosaries, crosses on chains around the neck, the robes of monks and vestments of priests and the painted sculptural compositions we find in the work of Paula Muhr (SER/GER), all these integral features we associate with the interior of Catholic churches are photographed in a way which seems to bring us closer, in a mysterious way, to the faith and piety of the devout.

Dimitris Prokopiou visits the houses of friends and acquaintances and photographs them in front of the little household shrine, a little corner of a room where icons of the saints rub shoulders with photographs of their youth, of distant relatives, children and grandchildren. He depicts ordinary interiors which have been transformed into places of devotion, adorned with images of familiar faces, weary and worn with the daily grind of life.


Stefania Mizara has taken photographs in three villages of Macedonia where the ritual of the firewalkers is still observed. Rooted in the ancient Dionysian rites, sanctioned by Saints Constantine and Eleni, the ceremony is performed by barefoot villagers walking across red-hot coals, endlessly chanting the phrase Stacht’ na yen… stacht’ na yen…

Vassilis Karkatselis (born in 1952) is going on with destruction of the ‘holy’ elements of the photography image. He destroys the specific place that has been photographed, and the decisive time of the image in order to create a new ‘holy’ time, place and image, an out of the reality image. His work is as for a unique sculpture. He is working beyond the boundaries of the medium.

Dimitra Ermeidou creates images that refer to religious visions. Actions of suffering, with known religious symbolisms are revealed in utopian settings, where the element of the inexplicable and transcendental is evident. In her work, concepts such as Sin, Good and Bad, Sacrifice and Punishment dominate. Each artwork is an autotelic episode, in a research for the eclectic kinships between faith as human behaviour and the individual’s mental outlook. The final question is placed on this basis: what is the deeper relation between religion and psychology?

Stavros Dagtzidis, born in 1948, photographs one of the biggest religious festivals to have survived in Greece, the festival of Aghios Simos in Mesolongi, which takes place each year in June. Large numbers of the faithful congregate for the festival, among them many Gypsies from all over Greece who bring their children to be baptized, to renew old vows and make new ones.

Thanasis Raptis, born in 1962, is fascinated by the saintly qualities of ordinary, simple, innocent people who, in the midst of life’s many trials and tribulations, ascend their own Golgotha - but without ever losing their decency and integrity. His message is that all these simple souls are worthy of the halo of the saint – and ventures himself to crown them with that very halo they deserve.

Efthymis Mouratidis, born in 1961, helps us to trace the divinity which lies inside each of us, through the shadowy form of an X-ray. What lies hidden beneath our clothes, in the inner recesses of the mind? The simple symbols of faith (crosses, charms, stars of David, writings of the prophet, and so on) are elevated, shrouded in a special atmosphere – the result of the distortion imposed by the requirements of the medical procedure. The awkwardness of the patient before the merciless, stainless steel surfaces of the machine is transformed into a mysterious and sensual beseeching.

Argiris Liapopoulos presents the dance of "whirling dervishes". Turning towards the truth, the dervish grows through love, deserts his ego, finds the truth and arrives to the "Perfect,". Then he returns from this spiritual journey as a man who reached maturity and a greater perfection, so as to love and to be of service to the whole of creation, to all creatures without discrimination of believes, races, classes and nations...

Abraham Pavlidis holds a special place in contemporary Greek photography. Photography is a natural extension of his keen interest in travel and his desire to record the places where people work, worship and live their private lives – places charged with memory and tradition.

Yiannis Hologounis photographs the festival at Aghios Nikolaos in Halkidiki, known as “the eikonismata”. The custom, its origins lost in distant antiquity, is also encountered in other parts of Macedonia. It takes place immediately after Easter and is accompanied by special services and prayers for a good harvest.

Florence Messager (GR-FR) uses photography and painting, in entirely abstract terms, to express the deification of the high priestesses of the contemporary cinema, both Greek and foreign.