Press Releases - E31 GALLERY

Ulysses as Faust

Text by Rea Thönges-Striggari

Towards a new corporeality of the intellect
Thoughts around the sculpture of Yiannis Melanitis

Dates of Exhibition: February 8 – March 15, 2008
Opening Date: Friday, February 8, 8.00 pm

Opening hours: Tuesday to Friday 4.00 pm – 8.30 pm Saturday 12:00 – 4.00 pm

Odysseus-Faust within the inner world of the plastic movement

Concerning the pursuits of Yiannis Melanitis, the origins of consciousness evolution are proved and comported with the drama of plastic becoming.
His central hero-guarantor, Odysseus (Ulysses in Latin), a decisive figure in the course of western intellect, approaches us here with an obvious leap into Faust. Visible in both,“the force of suffering [πάσχειν] and acting [ποιείν]” is that Dionysian / Nietzschean impetus, where each creature emerges from – and each creature of the mind as a formation of thought-action.

Inevitable darings were presumed : the encounter with Cyclops, whence Odysseus will be forced to turn away and resign awhile so much from the hedonic dynasty of nature and the nature of the senses, as well as from the ephemeral knowledge of individuality. Thus, only in this way he achieves the internal glimpse of that universal Noman (Ούτις=Κανένας). In order to be somebody, shouldn’t you first deeply experience the 'No-one' ?

The adventure of Ego (still going on) seems to start in the wild heavy sea of soul and flesh, where Odysseus wrestles with death and – before meeting the rescuer Leucothea – he will shout: ώμοι εγώ, μη τις μοι υφαίνησην δόλον...["this is only some one or other of the gods who is luring me to ruin.] (Perhaps the first argued cry/appearance of “I” in the history of humanity.)
At the agonizing sigh of the storm-tossed “Ego” - in the counterbalance of No-one! - the nymph Leucothea will respond. And her way to help is noteworthy: she gives Odysseus her bandeau, ordering him to wrap with it his breastbone: thus, what is connected with the intellectual operations is moved to the sentiment? (What do we truly know about this?) In any case, that same divine cloth the hero should throw back in the sea, as soon as, out of danger, he steps on the ground of Faiacs.

The next lethal ordeal brings Odysseus, with an organic, I would say, consequence of ritual mysteries, confronted with the world of the dead - and the certainty of personal death. In Nekyia, Odysseus, penetrating the crystalline prism of the “Ego” oversteps in the possibility of an ecumenical mission: he is rendered mature to accept the order of Tiresias.

The return shrinks, is almost annihilated, because“ the ingenious one”, in a currently new orbit, will continue his course. In Ithaca, it takes place nothing else than the completion of a moment: there he will only return in order to die. Before he leaves again, in the bed of Penelope's love, he will repeat the words of Tiresias: that he should head, with the oar in the shoulder, until reaching places where the residents, upon seeing him, will confuse the oar with the hay-fork. What a terrible fairy tale! Towards where -and whom - therefore Odysseus moves in his second and unutterable henceforth travel - unutterable, perhaps because we know, either way, his conclusion? In any case, one thing seems certain: the one that confuses the oar with the hay-fork is the man -landworker, a person with the ignorance of the sea - and this means: ignorance of the kinetic distinctiveness of her marine culture.

If therefore we consider it a serious narration (and why not?), Odysseus going north (because only towards this direction the sea is unknown) has the mission to disseminate (in the upcoming European space) precisely that culture, which afflicted also himself: the culture with the force of suffering [πάσχειν] and acting [ποιείν]. Which is inherent and concerns the intellectual (and natural) mobility as well as the plastic process.

Plasticity, moulding, faculty of representative figuration: … where does the elaboration of fictile matter stops, when also the dreams “are moulded”? A concept inconceivable until today, the datum of ancient Greek sculpture has been perhaps incorrectly encaged exclusively in the “work”. It is still a subject of research what precisely the Greek craftsmen added or altered with their terrible organic consequence in the egyptian and assyrian models – masterpiece formations themselves, however more “idols” than “creatures”. And if we detect in the Greek maker, originating around the 8th century BC (or even earlier?), this different breath and different movement, perhaps we unforeseenly discover that the same energy, the same inaccessible, suspended between spirit and matter plastic being, is inherent. It is inherent as a sweeping wave, feeder for all these experiments that we named “democracy”, “drama”, “philosophy”, “science” - all together, as a blow and movement of the mind. Thus, the reality of the city -precarious model of the live social sculpture - replaces, with all its risks, the immobility of theocratic doctrines. This hidden contagious force from the inside, is immanent, I suppose, in the searches of Yiannis Melanitis: plastic blow, contraction/dilation in each living being, in each living idea: Alles ist Plastik < the Theorem of Plastic by Joseph Beuys: One and Everything.

Focusing on the emblematic scene of Nekyia, the artist extends here consistently the narrative leading it to a new dimension. The experience of death, the Tiresias' command - and mainly its acceptance - transubstantiate Odysseus. His dead, “old”, self is not removed (is not lost) but becomes a precious and continuous load - with elements of a foetus. Always you have something dead that you carry with you - and this may become seed. For what is next…

Ulysses as Faust

Text by Thanassis Moutsopoulos
Towards a new corporeality of the intellect
Thoughts around the sculpture of Yiannis Melanitis

Dates of Exhibition: February 8 – March 15, 2008
Opening Date: Friday, February 8, 8.00 pm

Opening hours: Tuesday to Friday 4.00 pm – 8.30 pm Saturday 12:00 – 4.00 pm

Yiannis Melanitis is a remarkable kind of sculptor in a time after the end of innocence of means. His work comprises the knowledge of the end of the artistic object's autonomy- for this reason he insistently discourses with the most advanced scientific regions (particularly with biology) but also the arts (the literary rupture of Joyce's Ulysses but also the course of sculpture from Halepas to Schütte). The wrinkles, the dermal folds, the bodily decay and the skin's crease will be the ground for the plastic vocabulary of the artist.

The main sculptures of the exhibition in the E 31 GALLERY are based on a contradiction: a child with an old man’s skin on its face, an old man with a youthful face. Actually, in the past , the artist has often handled sculptural forms of hybrids, forms, that is to say, that are composed of various, often dissimilar and contradictory, elements. Here, this aspect is also represented by a three-headed sculpture, a "monster" that functions as a metaphor for the alchemic process (small tri-coloured ceramic sculpture). An object of the Un-natural, which, having been sliced off the bonds of substantial reality, lives simultaneously in the present, the past and the future.
Another exceptionally interesting example of "bodily" perseverance of Melanitis' sculpture will be a drawing formation where it is presented the female body as a map ( a work which precedes the present exhibition). Analogous elements of the asexual body are visible in the oversized sculpture of Ulysses after the descent to Hades (Ulysses carrying himself). The history of art is full of buttocks and breasts. The buttocks mostly male, the breasts usually feminine. An incredible panorama of permissible nude: muscular aesthetics of the naked athletes in the ancient Greeks, religious ethics of the naked litanies in the Middle Ages. Finally, it does not appear to exist any (western) society which did not offer, one or the other way, certain points of men's or woman's body, even the privy parts. Rarely, however, the approach and the motives of the naked body happen to be the same from one society to another. Even the way of perception of the naked body has changed: we should wait up to the Middle Ages in order to identify the woman's naked body with erotic desire. Along with this change, the up to now neglected woman's breast comes out in the forefront. Bologne writes: "In sculpture, at frescoes and pillars, the fallen and bare breasts of Eva and cursed women, round up, raise and inflate." The obsession of men with the woman's breasts will keep up for centuries. The final battle will be played in the beaches, fine arts, the cinema and of course, pornography. Nevertheless, nothing will be the same anymore. The buttocks of yesterday are not the buttocks of today. Nor, for that matter, do the breasts.

After the corporeality, the intellect. The subject of Melancholy, a subject that has come back very intensely in the artistic discussion during the last years, becomes one of the main subjects of Melanitis' approach : it is presented here on a sculpture of a child with facial dermal wrinkles. It is a child with enormous density of thought, in a situation of intellectual intensity that expresses the situation of melancholy as defined by Dürer at his homonymous engraving.

And afterwards, death. At the moment of awareness of the oncoming death, as it was foretold by Tiresias in the lower world, Odysseus is transformed into Faust: at the central sculpture, ascending, Ulysses is carrying the corpse , by himself...

Yiannis Melanitis has covered a vast area in order to plastically define it. It’s been a long time since we came in view of such a sculptural proposal. I believe we need it...


Corporate cities Ltd.

Text by Marina Fokidis

Dates of Exhibition: November 15 –January 15 2008
Opening Date: Thursday, November 15, 8.00 pm

Opening hours: Tuesday to Friday 16:00 – 20:30 Saturday 12:00 – 16:00

The exhibition consists in sculptures and drawings that deal with aspects of newly formed cities that result from a paradigmatic change regarding the driving forces behind their constitution and urban planning.
The work takes into consideration contemporary globalized mega city examples that distance themselves from the idea of an urban centre in the classical sense and are to be considered more as real estate projects within the context of a “corporate city” ; corporate cities in corporate states, pre-programmed cities created and run by economic forces rather than political ones ;cities without citizens.
The installation part highlights the way investors end up regulating the form of living environments by first creating a habitat (in extremis including the geography of the place) and then inviting the people to live in it , as well as the role of spectacular architecture in a context where not only history but also public space is absent (seen as space were potentially dissent may be expressed);
In addition, the realization of logo for invented company here as in previous works of Dafni&Papadatos functions as a visual deduction of the artists’ research in the last four years on habitat conditions involving territory structure and resources.
Furthermore it emphasizes all potential crises in meaning and representation.

Alexia Dafni (1970) and George Papadatos (1969) work together as a group since 1999. They live and work in Athens and Amsterdam.

Selected Solo Exhibitions: Corporate Cities Ltd, E31 Gallery, Athens, Greece, (2007)Light unit factories ,Galleria Umberto di Marino, Napoli,Italy ( 2002 )۠ The master-list of dead media, curated by: L.Pratesi and M.G. Tolomeo, Palazzo delle Esposizioni, Rome ,Italy (2000) Selected Group Exhibitions :Metropolitan landscapes,Museo Laboratorio, Rome, Italy (2007)˙ Gates ,Barry , Italy (2006) Napoli Presente, curated by Lorand Hegyi,Palazzo delle Arti di Napoli, Napoli ,Italy (2005)Athens by Art,Monastiraki Square ,Athens, Greece (2004) ˙Tirana Biennale2,curated by: Edi Muka, Tirana, Albania -RAM,Utopia station,50th Venice Biennial,curated by :Zerynthia, Venice ,Italy (2003) Colori dal Mediterraneo,curated by:Teresa Macri and Hans Urlich Obrist organization΄Zerynthia,Ospedale Sant Andrea, Rome,Ιtaly-Gravità Zero, curated by: B. Pietromarchi and M. G. Tolomeo,Palazzo delle Esposizioni, Rome,Italy (2001)-Bienel de la Habana 2000,workshop Ventana Hacia Venus, curated byZerynthia,Havana ,Κuba (2000)9th Biennale dei Giovanni Artisti dell’ Europa, curated by : Giannis Kounelis, Rome ,Italy (1999)

105 54 ATHENS

Tel. 210 32 10 881
Mob 6939682971
Web site
E mail


Dates of Exhibition: May 10 – 30 June

Opening Date: Thursday, May 10, 8.00 pm

In an exhibition of collage paintings, photographs, stickers and sculptural installation, artist Chris Wilder once again mines the rich vein of absurdities undercutting that preposterous Sodom known as Southern California through the lens of it most conspicuous citizen “the crap artist”.

The exhibition titled “Confessions of A Crap Artist,” borrows its name from a Phillip K. Dick novel published in 1975 though written and set in 1959 (two years after Wider’s birth.) Dick’s book focuses on a character named Jack Isidore who like Wilder himself is obsessed with amateur and ill-fated branches of scientific inquiry. Also like the artist, Isidore collects old scientific books and magazines, countless worthless specimens, and is enthralled with disproved theories, such as the notion that the Earth is hollow and that sunlight has weight.

Isidore (who is very likely named after the medieval Spanish saint) brings all of those enthusiasms with him when he goes to live on a farm with his power-hungry sister who is causing marital turmoil with her ill advised love affair with a graduate student while her husband is recovering from cardiac arrest. Throughout the story, it is Isidore who is treated by his family and peers as though he were “unstable” and in need of supervision, but reasonable minds would most certainly differ. That peculiar juxtaposition of human behavior at its most tawdry with charming, if crackpot science is a Wilder theme par excellence. It is pure California, where “healthy” is a relative term and, at the juncture of quasi-science and squalid scandal, someone gets the idea to write a book.

Wilder’s clear identification with Isidore as meticulous observer of all that is unworthy of notice, is present everywhere in the work. The book photographs speak to many of the theories: Critical, philosophical, and conspiracy, which thread their way through the lives and minds of both men. The collage paintings seem like bright aquariums where weird unnamable ocean life, 17th century etchings, and the lurid bits of ordinary pornography float past each other without any particular destination or regard for our presence. In one work, the smiling head of disgraced US Congressman Tom DeLay blithely sinks as a shameless (but innocuous) porno crotch shot bubbles up to the surface. Everywhere the desperate, the erotic, the beautiful and the just plain dumb glide past each other in a Technicolor ether. The surfaces seem to be in constant motion with the shifting energies of the high chroma hues that Wilder has always preferred.

Twisted sexuality couched in the language of the California Dream takes another form in the seemingly innocent stickers of fruits, vegetables, flowers and anatomical drawings, which are languidly punctuated with vintage erotica. Again, the profusion of imagery, seeming to float on the walls, raises more questions than it answers, implies more than it reveals.

The overall effect of the two rooms of images is that of intense unflinching artifice – part TV screen, part luxury seed catalogue, and part fish tank. It may be worth noting that Wilder has spent all of life surfing urban beaches like Malibu where one might find a dolphin, the prettiest girl on earth, and all manner of industrial and agricultural debris rolling together in one of the world’s most perfect waves.

Wilder’s sculptural installation makes the duality portrayed in the book – and in life itself – physical, raising the stakes with references to death and immortality, in a piece titled “over, under, sideways, down (holy smoke),” a variation on the original sculptural installation (Berlin, 2006), which featured full-sized palm trees sprouting through a false floor. Unlike the Palms, Cypress trees are tolerant of harsh conditions and are a tree of mixed messages. In ancient Egypt, Cypress wood was used for coffins, which began its association as a tree of death, but because it can live up to 1,000 years, Cypress has also been associated with immortality. This tree is also associated with the Death card in Tarot, while Plato referred to the Cypress as a symbol of immortality. Aside from this contradiction, the Cypress is also considered a tree of magical powers (magic wands derive from its branches, and its incense is said to have healing powers), and was a central feature of the centers of learning which were vital in the development of mathematics, geometry, philosophy and democracy, as well as cosmology and religious awareness. They were, in fact, the seedlings of all that make our present civilization what it is.

In way that’s typical of Wilder’s work, he seamlessly overlays one story with another. Phillip Dick’s socially awkward but sympathetic amateur scientist Isidore becomes an idiotic, overconfident teenage cosmologist in a Yardbird’s song.

(Hey) Over under sideways down,
(Hey) Backwards forwards square and round.
(Hey) Over under sideways down,
(Hey) Backwards forwards square and round.
When will it end, when will it end,
When will it end, when will it end?

In Wilder’s view the answer is never. The world is 24-hour cable T.V. -- an endless stream of half truths, cockeyed theories, news of slaughter and atrocities, and tabloid scandals painted in the brightest of colors. A world where violent wars are waged for personal gain, and where Cypress Trees can signify both death and immortality, be antennae to the Zorastrian gods, magic wands to the Ethiopians, and at the same time weeping, funereal icons of Hades. With Wilder’s inversion of these trees, they refuse their roles as magic wands healing the grieving; and rather than become antennae to the stellar gods, they are aiming for Hades, god of the Underworld and of Earthly Riches, in order to reflect the tragic state of war, genocide, torture, greed and corruption which seems to keep spinning and repeating, backwards and forwards, no matter how many lessons our “civilization” claims to have learned.

105 54 ATHENS

Tel. 210 32 10 881
Mob 6939682971
Web site
E mail


Clement Page

Sleep Paralysis, Somnambulism and the Uncanny

Richard Dyer

When we are in the REM stage of sleep, 1 that stage associated with the most vivid and visually oriented dreams, there is a complete loss of muscle tone in the major muscle groups of the body. We are effectively paralyzed. The accepted theory behind this natural and universal phenomenon is that a state of paralysis is induced in the body so that we cannot act out the content of our dreams- consequently exposing ourselves to danger and damage. If this physiological mechanism did not exist , everyone would sleepwalk every time they dreamt. The mind, being fully involved in the dreamworld, is not normally aware of the phenomenon of nocturnal paralysis. However, in a small percentage of individuals, perhaps ten to fifteen percent, a disturbing psycho physical syndrome occurs : Isolated Sleep Paralysis ( ISP), 2, commonly known as “Petit-Mal” in the West. In this instance, the sleeper gains consciousness while the body is still in a state of paralysis. Not only is this terrifying because the subject believes themselves to be truly paralysed, generally engaging in desperate but usually futile attempts to move, or “awaken” , but the brain is still partially dreaming, such that dream imagery and hallucinations, both visual and tactile, are experienced as real. A common hallucination is of a being crouching on the subjects chest, an “incubus” or succubus”, or the subjects arms or legs being pulled or touched by unseen hands, the room filling with daemons and preternatural light. Jorg Conessa has suggested that this terrifying occurrence may be turned into a positive experience by transforming it into a lucid dream – that is, a dream where the dreamer is conscious that they are dreaming and can exert a certain degree of control over the content and progress of the dream-however , this requires diligent training and may not work for all “sufferers” of the condition. 3 Clement Page’s 16mm film, entitled Tiny Pain ( 2005), 4, is a filmic evocation of this naturally occurring “uncanny” psycho physical state. Based on the reports of a real-life sufferer from Sleep Paralysis, this short film intensely echoes the claustrophobic atmosphere of cloying dread and steadily increasing panic as the paralysis spreads and the hallucinations intensify.
What are the elements of this phenomenon that equate it with Freud’s notion of the uncanny? Freud saw the uncanny as a blurring of the boundaries between reality and the imaginary. This is exactly what occurs during Sleep Paralysis. Dream content literally “leaks” from the unconscious into reality, the hallucinations appear to be projected into the three dimensional space of the real, disrupting the stability of the subjects perception of reality and thus causing an intense sensation of the uncanny.


The “familiar”, the “homely” – “Heimlich” in Freud’s original discourse – in this case literally the home of the dreamer, the bedroom, is rendered “unfamiliar” and distinctly “unhomely”, “unheimlich”, by its seemingly real and terrifying daemons and assorted creatures from inner space.
In “Tiny Pain”, the hallucination is produced by the use of animation – rather than the use of a superimposed filmed images of a real object or person- this aids in replicating the “other worldliness” of the image, in this case an ever increasing vortex of force which increases in size as the subject’s paralysis spreads, and seems to be moving ever closer to her.
In Sleep Paralysis then, the suppressed contents of the unconscious literally escape into reality and become “manifest”, as it were, no longer suppressed, but instead liberated and able to terrify and threaten the subject, seemingly in the real world. The concomitant to Sleep Paralysis is the phenomenon that results due to an absence of REM paralysis: somnambulism. Page has explored this condition in two further works; Unknown Disturbance , shown at the Trafalgar Hotel, 2004 and Sleepwalker, 2005. Unknown Disturbance, shown at the Trafalgar Hotel, London, as a two-screen slide projection, reveals a sleepwalking female child wondering the corridors of the very same hotel.
In Sleepwalker, Page explores this state with a greater depth and elaboration. The film is conceived too be projected onto adjacent walls, in the corner of a gallery. On the right – hand screen of the film we see a man asleep, he gets out of the bed and begins to sleepwalk, engaging in a set of bizarre actions as he moves through the rooms of his house and then out into the streets of the city. By way of “explanation” the left-hand screen shows the same man, but this time it depicts his dream which is occurring in parallel with his sleepwalking episode.
The settings for both the dream-a dilapidated and abandoned building of vast dimensions- and the “real” environment of the right-hand film-run-down, graffitied parts of the city at night-refers back to an earlier series of photo works, “Topologies”,(2003), where the city acted as a metaphor for the dream. Repressed parts of the city stood in for the unconscious; viewed from the vantage point of a passing train one could see parts of the city that the town planner did not intend us to see; the grey zones, gaps, wastelands, and ghettos.
This uncovering of the hidden functioned as a trope for the repression of social memories, the visual erasure of the environments of the poor. Those same locations became the mise-en-scene for Sleepwalker.
The physical body of the somnambulator acts in the manner of an automaton, animated as it is not by the conscious volition of the subject, but by the unrestrained forces of the unconscious mind. This relates to an early example of the uncanny as given by Ernst Jentch-whose essay on the subject preceded Freud’s – that of the uncertainty as to whether an animate object was really alive, and conversely whether an inanimate object was truly non-sentient.


The sleepwalker appears to be an automaton, a puppet, animated by some unseen force. In fact, Jentch explicitly refers to somnambulism as being a state capable of invoking a sense of the uncanny in the observer for this very reason.
The trigger for this piece was the artist’s own personal experience of sleepwalking ( where, as in one scene in the film, he destroyed his own study while in a somnambulistic state, and knew nothing of his actions until he discovered the disorder of the study in the morning.)
However, this does not make the work merely autobiographical, or therapeutic in a cathartic sense. Page has used his own personal experience of this phenomenon as an emotional engine to drive the intensity of the film, but he has then channeled this energy to push the subject forward into philosophical, social and political territories of investigation and exploration. With the global increase in hyper-technologies-those telematic methodologies which go beyond the necessary functionality of the mechanical-computers, mobile phones, portable personal music collections-thousands of tracks carried in a pocket-size box- global positioning devices , etc, we are moving closer to a state of complete immersion in alternative dimensions, alternative that is to consensus reality. There already exists the technology- head –mounted stereoscopic displays, data gloves ( producing a ‘virtual’ cyber hand of for the user in cyber space), even pressure responsive sensors, so that the fully immersed ‘cybernaute’ feels as if they are actually touching objects which do not exist in the real world-which enables us to enter dimensions which challenge the dominance of a collective and consensual singular reality. Dimensions which bear more than a passing resemblance to the dream world. At the same time the exponential expansion of capitalist production, consumption and waste proliferation is turning the world population into a sleep – and therefore dream-starved mass, hardly anyone sleeps eight hours a night anymore, the norm is more like four or five. We are exchanging the interior dream world of our unconscious for the exterior dream world of computer generated realities.
Sleep disorders proliferate. We are becoming dislocated from the unconscious. But, paradoxically, the reality we are creating begins to resemble that very unconscious. A three-dimensional, stereoscopic realm where our wildest fantasies are only a mouse click away. Our unconscious content seemingly no longer has a need to find expression in a panoply of mythic symbols. Secret wishes and hidden desires can be instigated and simulated in glorious 3-D within the realm of the virtual, the new, pixilated paradise of cyberspace.
We are experiencing an epidemic of somnambulism. Our natural body and brain rhythms, thousands of years old, sleeping at dusk, waking with the dawn- have been disrupted and reconfigured by the onslaught of a techno-capitalist interruption of ‘standard reality’. We now move between different levels of reality on an hour-to-hour basis, thinking nothing of talking to someone on the other side of the world, while viewing their image on a screen, listening to music a century old, while manipulating futuristic images in three dimensions, creating new realities, downloading possibilities, surfing the dark underbelly of the new world the digital collective unconscious.


A man wakes to find his murdered wife in bed next to him; she has been subjected to a violent and frenziend knife attack during the night. But all the windows and doors are secure, there has been no break-in. The man has committed murder whilst sleepwalking. The unconscious is leaking into the real. With the aid of technology, hyper-capitalism and the abolition of moral and social order, we are creating a reality that is only a whisper away from the tumultuous derangement and deregulated desire of the unconscious mind. Freud’s hidden domain is now exposed for all to see.

Richard Dyer is a poet, News Editor of Contemporary magazine, Assistant Editor of Third Text and Managing Editor of Wasafiri

1) REM stands for ‘Rapid Eye Movement’, that characteristic physiological indicator that the subject is dreaming. It would appear that the eyes move in this way because they are following the unfolding events of the dream.
2) Jorge Conesa, Wrestling with Ghosts: A Personal and Scientific Account of Sleep Paralysis, Xlibris Corporation, 2004
3) Ibid
4) Tiny Pain, 2005, 2 minutes, 16mm colour, mastered to DVD, single screen projection
5) Unknown Disturbance, 2004, 10 minutes, double slide projection for two screen projectors, two screens, dimensions variable.
6) Sleepwalker, 2005, Digi-Beta/16mm mastered to DVD, two projectors, two screens dimensions variable.
7) The term ‘telematic’ has been appropriated by the electronic arts community to describe artwork which employs modern communications medium as part of its structure, or process. A telemeter is an apparatus for recording readings of an instrument at a distance, usually by means of radio. The term ‘telematics’ was first coined by Simon Nora in the late 1970s to mean computer-mediated telecommunications, or remote, automatic transmissions of information.



The photography exhibition “Fiction or not fiction” opens in E 31 GALLERY on Friday September 23th , 2005 at 8 pm, in cooperation with the Berlin-based Art Gallery KAPINOS GALERIE.
Franka Hörnschemeyer (Osnabruck, Lower Saxony 1958) seizes space and at the same time brings to light historical memories. The same approach is applied in this particular photographic work, focused on the ruins of the bombed plant in Peenemünde island― a place where the first rockets and missiles were invented by German scientists such as Wernher von Braun). Peenemünde represents nowadays a center of reference for the understanding of German History, a symbol of the ambivalence of technological evolution.
Volker Kreidler (Baden-Wüttemberg 1962) snaps sites where an apparent calm reigns, whilst at a second glance they reveal turbulent historical events.
George Angelakis (Athens 1963) registers prints of private lives, on a transitional phase, in demolished houses (stamps of personal time in public).
Michael Kunze (Munich 1961) deals with the risks of accidental through human neglect (black and white photos of settings created by chance reflecting human abandonment).
Peter Garfield (Stamford 1961), an original photographer in his technique, is a creator of settings which depict flying houses, shaking the sense of security which the idea of home inspires in every man. In the meantime, the viewers are left in suspense between reality and illusion.
The spiritual affinities and influences of the photographers who are all related to Berlin are presented for the first time in the Greek public in a pluralist and comparative way.

Curator: Nancy Kougioufa,
Duration of the exhibition: 23 September-27 October 2005

Evripidou 31-33 and Athinas str.(2nd Floor).
105 54 ATHENS

Visiting hours: Tuesday-Friday 11am-2pm and 5.30pm-9pm
Saturday 12am-4pm

Telephone number: 210-3210881
Μobile: 6939 682971

Director: Νancy Kougioufa



The exhibition Jasmine opens in E 31 GALLERY on Thursday November 10th, 2005 at 8 pm.

J.Bardos Sian creates abstract drawings from paper that carry Islamic references. She cuts and removes small parts very carefully. Without trying to achieve the impersonal perfection of industrial design, she creates a contemporary handiwork.
The figures in the drawings of Tim D’ Agostino carry an ethereal attraction. They seem to be portraits taken from novels and old newspapers. It’s as if the character’s thoughts themselves form the floating floral shapes that merge with their faces.
Michelle Dovey illustrates the adventure of a girl lost in a dense forest. The heroin stands still as if listening. Her movements are slow, nonchalant. She gets close to a river and lets it carry her away. She falls off the tall waterfalls but remains calm. The series emits a peculiar, almost erotic fascination.
The phrases of Irys Schenker seem to be parts of something bigger or rather they contain a sense of something bigger. Despite their small size they create story lines. Their tone is that of confession. The way they are made, forces you to read them slowly, not with ease. The meaning is revealed gradually, makes a strong impression and becomes personal.
Jack Early has been writing music for the past several years. Jack’s songs have the beauty of the songs recorded in the studio that never go through the last stage of refinement. They are of innocence and love. The songs heard in the show are accompanied by a series of drawings inspired by them.
Alexandros Georgiou presents two paintings based on a long series of drawings in progress, depicting bizarre figures in totem-like complexes. Between photographs he paints and draws. This is the first time he will be showing his paintings in Athens.

The works in the show are discreet and soft. They are subtle, yet idiosyncratic. They derive from a dedication to the art object itself. They do not include in their structure a safe place in the current art trends, neither do they carry any rational proof of their value: they are like exposed moods of the soul.

Curator: Alexandros Georgiou
Duration of the exhibition: 10 November 2005-12 January 2006

Evripidou 31-33 and Athinas str.(2nd Floor).
105 54 ATHENS
Tuesday-Friday 11am-2pm and 5.30pm-9pm
Saturday 12am-4pm

By Katerina Kana

E 31 GALLERY is pleased to present Katerina Kana’s solo exhibition, featuring the video work Dust II and a sculpture inspired by the course of Dust.
Katerina Kana lives and works in Athens and has an international career.
The video Dust II (2006) is a part of the work in progress Dust, which follows the tradition of home-made cinema, wedding the spirit of punk defiance to the resuscitation of mystic rites’ elements in a contemporary urban landscape.
In the work Dust I (2005) a band of persons wearing zoomorph masks leave the city during the night, and they gather in the country with the view to launch in their nudity the provocative slogan DUST MY ASS. A chorus where the animal is mingled with the human, and the Dionysiac mania, the proximity to living essence, the struggle between form and formless are revealed. A congregation that recalls the orgiastic nocturnal climbings of Maenads in ancient times.
The work Dust II, in particular, deals with the sacred in its contrasted and, at the same time, complementary relation to love and death.
In the beginning, a ritual of male self-erotism is performed, which introduces the viewer to the universe of eroticism and of individual subjectivity, implying simultaneously the exclusion of women both from the source of original love and the right to self-determination, as it is insinuated by the fleeting presence of a sensual, spectral woman without a face. “Love for others stems from love for ourselves. Caressing yourself and caressing each other, isn’it the outset of every genuine communication, of every real human contact?”1
Afterwards, an agonized journey through the night takes place, starring orthodox priests, in Athens surroundings. The pace, the atmosphere, the soundtrack emit a sense of search and pursuit at the same time. At this point an adventure through dark pathways begins, leading the heroes to discover in the end the unity of mysticism and eroticism.
In his famous Studies on eroticism Georges Bataille describes as follows the relation between mystic experience and a sensual one: “It is always a matter of detachment from life preservation, an indifference to the means that provide life, an agony experienced in such conditions where the forces of being are thrown out of balance, eventually an opening up to the direct move of life, which is usually suppressed, and all of a sudden is liberated within an overflow of joy towards infinity”.
The ambiguous (and ambivalent) character of the sacred according to R.Otto3, which is revealed as mysterium tremendum and mysterium fascinans, reflects simultaneously the two sides of experiencing love and death as a transgression of the boundaries of individual subjectivity. As a matter of fact, it is not a coincidence that orgasm, in many sacred traditions, is presented symbolically as death and rebirth.


The sexual intercourse is a form of self-loss, bringing about a sense of annihilation to the lovers, suppressing the discontinuity of their existence.
“Vivo sin vivir en mi-I live without staying inside of me. And next: Que muero porque no muero-That I die because I do not die”4. Does Mystic St.John of the Cross, in the harrowing of his ecstasy, not express the same mystery?
Scenes of self-flagellation are interjected among the shots of this uncanny nocturnal adventure, referring to a religionist guilty conscience. Puritanism, accompanied by feelings of guiltiness, did not, of course, descend upon humanity along with the birth of Christianity. E.R.Dodds, in his monumental text. The Greeks and the Irrational5, describes in detail the shamanist impact from the North upon the spirit of Ancient Greece, which led to the Orphic and Pythagorean doctrines around the antithesis between body and soul, in its extreme expression as fright towards the body and repugnance of sensuality. The juxtaposition of spirit and matter, earth and beyond, through the vehicle of Neoplatonism and Gnosticism, was adopted then by Christianity, with the relative differentiation of orthodox patristic theology. According to Dionysius the Areopagite, the father of Christian mysticism, the world is an “Epiphany”, the “revelation of God”.
By way of a conjuring trick, the repressed female side and the smouldering erotism latent in all three major patriarchal religions are revealed in a fleeting scene. In a penetrating analysis by Fotis Terzakis on the dogmatic consolidation of Holy Spirit in Christianity6, a quite interesting view has been maintained, namely, that in this way the ecstatic and female aspects of previous sacred traditions of Asia Minor have been incorporated. In terms of popular worship, the phenomenon of sentimental love of Virgin Mary, particularly in the context of Orthodox tradition, is quite revealing. As for the smouldering erotism, the Song of Songs, with its open sensuality, despite all efforts to be read as allegorical, expresses perhaps the “the intimate spiritual dimension which is active in the very passionate sexual interaction”7.
The silence surrounding the characters throughout the film, with the aid of the emotive soundtrack by KONSTRUCT, is been transformed into a “speaking silence” preceding the disclosure of a hidden meaning, the thread connecting eroticism, the Divine and death. In the final act, the company of priests, through the vehicle of nakedness, reveals the inclination of existence to lose its form, the tendency of discontinuous life to surrender to continuity of Being: IN DUST WE TRUST.
“All go to one place. All are from the dust, and all turn to dust again.
Who knows the spirit of man, whether it goes upward, and the spirit of the animal, whether it goes downward to the earth?
Therefore I saw that there is nothing better, than that a man should rejoice in his works; for that is his portion: for who can bring him to see what will be after him?” Ecclesiastes 3:20-22

Written by Panos Tsahageas
Editor and translator


1. Raoul Vaneigem, Le Livre des plaisirs, Encre, 1979
2.Georges Bataille, L’Érotisme, Minuit, 1957
3.Mentioned in: Fotis Terzakis, Studies on Sacred, Ellinika grammata, 1997 (in Greek)
4.Mentioned in: Stefanos Rozanis, Fragmentary Discourse on Divine Eros, Psichogios, 2005 (in Greek)
5. E.R.Dodds, The Greeks and the Irrational, University of California Press, 1962
6. Fotis Terzakis, op.cit.
7. Slavoj Žižek, The Puppet and the Dwarf-The Perverse Core of Christianity, MIT Press, 2003

Back to dealer/gallery profile