Thursday, 23 February 2012

'Capturing', fish eye photographic series No1 (posted on 23/2/12)

Camberwell College of Arts, London, 30/JAN/2012. Photo by N. Georgopoulos















Nikos & Mike, Brick Lane, London, 04/JAN/2012. Photo by D. Marketou















Canal, Islington, London, 31/JAN/2012. Photo by N. Georgopoulos















Nikos & Dylan, Camberwell College of Arts, London, 30/JAN/2012. Photo by L. Kym















Camberwell College of Arts, London, 30/JAN/2012. Photo by N. Georgopoulos
















Wednesday, 22 February 2012

Jens Brockmeier on the narrative fabric of autobiographical memory; the elective affinity of film and memory (posted on 22/2/12)

Orson Welles, print screen from Wikipedia.
























Jens Brockmeier is a Senior Scientist based at the Free University Berlin, with a background in psychology and philosophy. He also is a Visiting Professor in the Department of Psychology at the University of Manitoba, a Honorary Professor of Psychology at the University of Innsbruck, and a Senior Visiting Research Fellow at the Centre for Narrative Research of the University of East London.

This afternoon he gave a talk under the title The art of remembering and forgetting at Chelsea's lecture theatre about the narrative fabric of autobiographical memory and what gives narrative, visual, and performative artists privileged access in exploring it. In particular, he mentioned that 'the reason why we remember or forget is not in psychology, nor in neuroscience, but in narrative art'. Acknowledging that many contemporary artists use film in their research of autobiographic memories[1], he talked about films as forms of narrative[2].

Brockmeier divided his presentation in 3 chapters. The first one was called Remembering (a) film, the second one Filming memory and concluded with the last chapter of Films as remembering and forgetting.

Nikos Georgopoulos

-----
Notes
1. The killing maschine, installation, 2007. Jannet Cadiff & Burres Miler.
2. 'A film is never really good unless the camera is an eye in the head of a poet', Orson Welles.

Tuesday, 14 February 2012

'All passengers ready for disembarkation; it's 1945' (posted on 14/2/12)

Mataroa vessel, (C) NZ Maritime Museum

























'All passengers ready for disembarkation; it's 1945' is an essay on the New Zealand 'liberty ship' Mataroa, and more specifically, on a particular voyage realized in the 22nd of December, in 1945. About 200 young Greek intellectuals embarked on it, in order to travel from Greece to Paris, at a time where the Greek civil war burst out, and in that respect, to save their lives. The essay aims to provide information on the historical context of the aforementioned journey and, more importantly, to elaborate on the view that Mataroa came to be a medium for salvation and thus, it can be seen a symbolism to self awareness.

The term Liberty ship refers to cargo ships developed in the United States of America during the second World War. Producing them under a single design, the aim of the US Maritime Commission was to reduce their cost and speed of construction in order to built cargo vessels faster than German U-boats could sink them. 'A Liberty ship was designed to carry about 10,000 tons of cargo, but in wartime conditions often carried much more'[1].

After the World War II was over, Greece was in a very bad condition[2]. Two months after the invading army left the country and the streets of Athens were gradually stopped being crowded, by dead bodies of civilians -who starved to death or got executed by soldiers, in retaliation for rebel attacks against them- a civil war between the Communists and the Right wings burst out, regarding who would going to be in charge of the country. Having said that, from December of 1944, Athenians experienced further chaos: bombings, assassinations, arrests and battles in between the debris and the barricades. Due to the war, everything was out of order; people would postpone academic education -if not cancel it permanently, and Universities were occasionally open. By that time, it became clear enough that anyone -either Left or Right wing supporter- who would wish to survive and to be developed intellectually, artistically or politically had to leave the country. The artist and writer -and currently, one of the few remaining passengers of Mataroa- Nelly Adrikopoulou wrote in her book ''.. we had to postpone our lives indefinitely. But life is not the sort of thing you can postpone. Either exist or not.''[3]

During that time, the internationally spoken language -of Diplomacy[4]- was French and the most relevant and active foreign cultural institution in Athens was the Institute Francais d' Athenes[5] -something like a French British Council of the time- and on that basis, Octave Merlier[6] who served as its director from 1938 until 1961 was a very powerful man. Considering the fact that Merlier was a Left wing supporter himself, and that he was aware that many educated and promising young people in Greece were leftists and, therefore, they were in danger of being lost in one way or another, he convinced the French Ministry for Foreign Affairs to assign him all of the unrealized -due to the war- scholarships[7] of the previous academic years -ranging from 1939. As a result of that, in August of 1945, the Institute Francais d' Athenes called for entries and 800 young people applied for a scholarship to study in Paris. Eventually, there were selected people from 60 different specialties and fields, ranging from architects, fine artists and composers to archaeologists, social scientists and doctors.

One of the most interesting points, is that the criteria for the selection of the people who would be awarded, was not how good users of French language were -since most of them were very poor and thus, the same applied for their education- but how good and talented they were in their field and practice. To make a long story short, the aim of this operation was to select a representative sample of people -both Left and Right wing supporters- who deserved to be saved from oblivion. Amongst the people who were selected for embarking in the 'arch' included -the youngsters at the time- Social Science graduate Cornelius Castoriades[8], Historian Nikos Svoronos[9] and many others.

The selected applicants were informed that a New Zealand ship, called Mataroa, would be the one on which they would embark on, in order to start their journey towards salvation. Nelly Adrikopoulou comments that '' the lucky ones who got the scholarship started to pack their stuff; books, manuscripts, typewriters, music records, clothes, all sort of stuff they where emotionally attached with.'' She continues by stating that ''we wanted to leave... for various reasons... each one of us had their own.''[10]

Early in the morning of the 22nd of December of the same year, Mataroa sailed from Peireus, Greece and arrived to Taranta port in Italy in the 24th. After the passengers disembarked they travelled by train during the night of the same day to Bologna (26th). At this point Nelly Adrikopoulou comments ''we were very hungry and it was very cold... When the train passed through the Swiss boarders I saw an intact world, untouched from the war and the hunger, with Christmas trees and snow all around.''[11] Finally, and after all sort of difficulties in the Swiss boarders they arrived in Paris at midnight, in the 28th of December.

At this point, we should probably say that not many things has been written for the ship Mataroa -as well as this particular journey; not even the omniscient Wikipedia has a single article regarding that ship. One could possibly find documents related to the background story and preparation of the aforementioned voyage, in the archive of the French Institute, in Athens. In addition to that, documentary material and digitized photographic post cards of the ship can be found through the website and online archive of the New Zealand's National Maritime Museum (NZNMM) and various other related web sites. Does that mean that Mataroa is not relevant? I think not. I, myself  am not a ships enthusiast -at least not before this project, neither I am particularly interested in the maritime history. But, I am interested in life and in the discourses that leeds people to the condition of being able to live their lives. Even if that is a literal journey -e.g. immigration- or an existential one -e.g. Psychoanalysis.

Everybody has or had in the past a family or a personal album. Everybody has a personal history. Is he or she aware of their discourse, of the sequence of the hidden meanings that lay beneath their everyday life and all sort of expressions of themselves. In fact, what drew me to the journey of this vessel in the first place, is the potential symbolism that this journey can acquire as well as the parallelism with a small existential trip that people embark on, in order to become really aware of themselves in order to live in a more conscious way, and therefore, potentially more free. And that potential is what consists salvation. Because today, 67 years later, we now know about Cornelius Castoriades, the internationally famous Marxist philosopher and writer of the Imaginary Institution of Society (1975) and many other theories and books and we are still studying in the cultural departments of -the Greek- Universities the history books written by Nikos Svoronos.

In conclusion, from the engineer's point of view, Mataroa was not literally what it can be described as a Liberty ship, but it can be seen as a 'liberty ship'. As a Passenger-cargo ship, she carried -at different moments in history- thousands of people including troops, men, women and children. As far as concerns the voyage of the 22nd of December in 1945, she saved the life of 200 young people by giving them the opportunity to escape and thus, to live their lives free; as they had dreamed of. She came to be the medium for individual salvation and therefore, freedom. As it is mentioned earlier on, 'a Liberty ship was designed to carry about 10,000 tons of cargo, but in wartime conditions often carried much more' than that.


Nikos Georgopoulos
London,
February 2012


-----
Notes.
1.  Unknown (2007) 'Capacity of one Liberty Ship' [Online]. American Merchant Marine at War. Available at: http://www.usmm.org/capacity.html [Accessed 10 February 2012]
2. Extremely worst than the current socioeconomic and debt crisis.
3. Adrikopoulou, Nelly (2007) The journey of Mataroa, 1945: The mirror of memory. Estia Publications : Athens. p55
4. The English language became the internationally spoken language after the war. Before this happened, French was the official language in the west as well as the official language of Diplomacy, of which still is.
5. Institute Francais d' Athenes (the French Institute in Athens) had each year around 600 applications for students to study in France, whereas the British Council around 200 at that time.
6. Octave Merlier (1897-1996), was born in France and studied at the Sorbonne and Ecole pratique des hautes etudes.
7. Due to the war, the scholarships for Greeks students to study in France were untouched. In that respect, Merlier asked the French Ministry of Foreign Affairs to assign him the current one as well as the previous ones. He gathered 50 scholarships each one per one academic year. He then, divided each one per 3 months of academic study. Τhe 200 scholars managed to stay in Paris because the universities wanted them.
8. Cornelius Castoriades (March 11, 1922 - December 26, 1997) was a Greek philosopher, social critic, economist, psychoanalyst, author of The Imaginary Institution of Society, and co-founder of the Socialisme ou Barbarie group.
9. Nikos Svoronos (1911-1989), was a Greek historian. In 1975, he was named Docteur des Lettres in Sorbonne. He served as course director in Ecole Pratique des Hautes Etudes (IV Section) for the Institutional History of the Byzantine Empire.
10. Adrikopoulou, Nelly (2007) The journey of Mataroa, 1945: The mirror of memory. Estia Publications : Athens. p37
11. Adrikopoulou, Nelly (2007) The journey of Mataroa, 1945: The mirror of memory. Estia Publications : Athens. p102
 







Monday, 13 February 2012

Writing about writing; Record your experience of writing while writing -inspired by an essay of Villem Flusser[1] (posted on 13/2/12)

No one cares from an English speaking audience if your writing in your native language is captivating and emotional and creative because, they can only respond to what they see and what they hear from you, in English.

It's 6 o' clock in the afternoon and I am back in Athens for Christmas. Today is Tuesday, still not very confident writing in English. I suppose... I suppose it doesn't matter. So, what on earth could I write on such an abstract subject; 'Record in writing your experience of writing while writing'. If the first 'writing' was missing -for example if the brief was 'Record your experience of writing while writing'- I could elaborate and work on this project towards a different direction and I could work further on ideas such as creating a single-shot video or, a sound piece like Susan Stenger's 'Soundtrack for an exhibition'[2] or even, I could compose a musical piece which would reflect my own personal needs and experiences while writing -I could do that by setting a brief. Obviously, it must not interfere with the level of  attention needed for someone in order to write; it should last for a very long time -without frequent transitions and rests. Anyway, the task is quoted though the brief in a very clear and coherent way; 'Record in writing'.

At this point, I am starting slowly to realize that, whatever this... text -I am not sure if it can be seen as one- is, at the end of the day, it is a reflection of my experience on writing; recorded in writing; definitely while writing. Having said that though, I am not sure if I have to make any corrections and further editing to this 'text'[3], if I am supposed to present it as a text, a written essay or as a deliberate raw-written text towards writing. I think the latter is more interesting to me -having reached to this point- because it connects better with the sound scape I mentioned before and therefore, with exciting potential interpretations of the task. It is more provocative to me since a text elaborating on my experience of writing would mean to write an essay on writing. I think that a very good name for such an essay could be 'Essay on writing'. Other titles also could be 'Towards the experience of writing' or 'Thoughts on writing'. But the problem still remains; 'what kind of writing?' Are we talking about an article or a novel? A research paper or a critique? A poem or a play? Well, I suppose the answer to this question would be 'your experience of writing'; my experience of writing. No, it is not clarified.

Definitely not. -My mom is preparing dinner in the kitchen, my father just came back home and he is having a short nap and I am writing. Right now I felt a little bit weird because, I was asking myself about what it is that the brief asks by saying 'writing' -and I just realized that I am actually doing it. Neither we talk about an article nor a story; even though i could publish a book having written a story like that. Neither we talk about a research paper nor a critique; even though in the beginning of the.. text I am gently criticizing the abstract nature of the brief. Last but not least, neither we talk about a poem nor a play; even though it could be a theatrical monologue, similar to those plays which have some roots regarding their concept, on the avant-gards.

I think I know what it is; it is a collection of notes towards writing. A brainstorming. It is a monologue but I am not sure if it is a pure reflection of my 'working process' because, I know this is a project that probably each one of us will present at the studio, in front of our peers. It is similar to a situation where someone is in front of a camera, making a statement. During an interview. Partly, you are yourself but you are acting as well. It is like you directing the whole scene -by placing yourself in it, in a specific way. You guide your moves, your expression, your attitude in a way -or towards a way- of creating a character which of course is yours, but at the same time it is not exactly you; sitting at your desk, at 6 o' clock in the afternoon while your mom is preparing dinner and your father -who probably just got back from work- is having a short nap. It is spectacle and it is fascinating. It's branding; you improve and you use the best and most powerful and potentially more popular characteristics of your personality by editing their sequence, choosing their order, isolating expressions to create tension and, employing techniques in order to create what, as well as how other people will think of you.

I think it's the same. Don't know really. Doesn't matter either. 'No prior knowledge of Flusser's work is necessary in order to participate.'[4] That is the best title.

PS: In my view, 'record in writing your experience of writing while writing' means: 'Record your thinking while writing'.


1. Vilém Flusser (May 12, 1920 – November 27, 1991) was a Czech-born cultural theorist and a media philosopher. His early work was marked by discussion of the thought of Martin Heidegger, and by the influence of existentialism and phenomenology.

2. 'For 96 days in 2006, a continuous musical work by composer Susan Stenger formed the major part of a show in Lyon's Musee d' art contemporain, curated by Mathieu Copeland and entitled 'Soundtrack for an exhibition'. The long duration of the piece resonated with the exhibition's exploration of temporariness and process.

3. -'I did'

4. In the 10th of November, 2011, Sandberg Institute -part of the Rietvelt Academy- in Amsterdam hosted an introductory workshop to the thought of Vilem Flusser, entitled 'From the technical image to technoimagination in the universe of Vilem Flusser'. The main objective of the workshop is to introduce the participants to some of the main concepts that run through the work of Vilém Flusser and it will be run as a reading group focusing on three essays. The workshop's notice was reading:

''Essays:
1. Imagination
2. The Photograph as Post-Industrial Object; An Essay on the Ontological Standing of   Photographs
3. How Technoimagination Might Work (From Communicology)
No prior knowledge of Flusser's work is necessary in order to participate. 

Thursday 10.11.2011 from 10-2, 3-5 p.m. Sandberg Instituut, Fred. Roeskestraat 98 1076 ED Amsterdam.''


Nikos Georgopoulos
Athens,
December 2011.

Sunday, 1 January 2012

Eternity is ephemeral (posted on 1/1/12, happy new year!)

'Eternity', 2010 / 78" x 96" x 3" / by Alicia Eggert & Mike Flening. Screen shot.


















Eternity is an installation created by artists Alicia Eggert & Mike Flening in 2010 consisting of 30 electric clocks rear-mounted to a large sheet of white acrylic. The black hour and minute hands of the clocks are aligned to spell the word ‘eternity’, and the clocks are plugged in to a series of power strips on the floor. As soon as they begin moving, the word almost immediately becomes a jumble of moving black lines.

'Eternity', 2010 / 78" x 96" x 3" / by Alicia Eggert & Mike Flening. Screen shot.

















'Eternity', 2010 / 78" x 96" x 3" / by Alicia Eggert & Mike Flening. Screen shot.














Source: Design boom
Read more here

Nikos Georgopoulos





Saturday, 31 December 2011

'The Interview', Paraguay press, Paris 2009 (posted on 31/12/11)

Photo by Nikos Georgopoulos



















The interview is a very interesting written and thought-provoking story by Guillaume Leblon and Thomas Boutoux.  It's one of those books you are not sure what they are trying to say, or maybe you are, but eventually you realize that it's not rocket science and you can't tolerate that. It has to be kind of conceptual and it has to be kind of weird, employing hidden meanings and extensions, in-depth symbolisms and a sarcastic approach towards its own format.

The book is a translation into English of the transcript of the play The Interview, as performed on January 17, 2007 at the Credac, Contemporary Art Centre, Ivry-sur-Seine. It is a dialogue between an artist and a writer. The first one wants to publish a monograph on his work and to employ the second one to write it; in a non-conventional way though. So, the play is featuring this kind of surreal dialogue between the two men which progressively is taking the form of an interview. The writer is the interviewer, trying to figure out what is it that the artist has in mind.

Either way, that kind of books are always very inspiring, not so much because of their own content; but because of their ability to intrigue our appetite for personal interpretations and attachment of meaning to them.


Nikos Georgopoulos

Monday, 26 December 2011

Merry Christmas & don't smoke too much, silkscreen on paper (posted on 27/12/11)



















'No smoking', Nikos Georgopoulos, 2011. Silkscreen on paper, 19x19 cm. Photo by Nikos Georgopoulos





















During the 1st screen printing workshop we had at Camberwell, I designed and produced a series of the internationally famous 'No smoking' sign. This one is hanging on the wall of my house in Athens.


'No smoking', Nikos Georgopoulos, 2011. Silkscreen on paper, 19x19 cm. Photo by Nikos Georgopoulo



















Merry Christmas to you all!

Nikos

How to feel at home in kitchens, 1982 SieMatic Mobelwerke (posted on 27/12/11)

Photo by Nikos Georgopoulos



















Back in Athens for Christmas and I found in our living-room library a 1982(!!) SieMatic promotional publication entitled 'Kitchens to feel at home in'. It showcases domestic interior design solutions for our kitchens! Well, for 'our' kitchens in 1982.

Fascinating and interesting photography, very well designed, old school typography -the typeface is similar to the one Apple used to have as their corporate typeface back in the 80's, watch this ad here- great paper stock and a sweet sentimental feeling. I love you; for what you are and what you stand for :)

Nikos

'Safe or not, we should turn more billboards into swingsets' (re-posted on 26/12/11)

Didier Faustino, Double Happiness, 2009, Billboard and swings mix, steel ladder, steel lattice platform, protective nets on steel structure 6.4 x 3.7 x 6.6 m. Screen shot.


















Parisian architect Didier Faustino's sculpture called 'urban furniture' is one of the best and to-the-point examples of art installations towards the re-appropriation of public spaces. He turned the skeleton of an advertising billboard into a swingset for the Shenzhen-Hong Kong Bi-City Biennial of Urbanism and Architecture.

Source: Ad Week. Read more here.

Nikos

Monday, 19 December 2011

'Broken Telephone', installation (posted on 19/12/11)

'Broken Telephone', installation, Nikos Georgopoulos.



















'Broken Telephone is the name for a game played around the world, in which one person whispers a message to another, which is passed through a line of people until the last player announces the message to the entire group. Errors typically accumulate in the re-telling, so the statement announced by the last player differs significantly, and often amusingly, from the one uttered by the first. As well as providing amusement, the game shows how easily information can become corrupted by indirect communication'.

The installation is constructed by 2 pieces -in order to accomplish symbolically the 'broken telephone' effect; 'Fictional Biography', concept book and 'Love Song', video. It seems that both the book and the video stand by their own as 2 separate exhibits, although the latter exist because of the former; which in this case is fiction.





































The 1st part of the installation is an artist book responding to an inquiry whether words are unreliable. In order to elaborate on my view -that words are neutral and that the debate whether they are reliable or unreliable it is completely irrelevant considering their nature- I introduced a female fictional character -Jessica- and wrote her sample biography. The story starts with the sentence:

'.. Jessica could be an adorable lady... or let me put it this way; Jessica is an adorable lady....'

So, I made up a story about her life; where she was born; her family and friends; her youth; her studies; journeys and -by arbitrary choice- concluded in an affair she had with a young man, whom she dumped. It is an example elaborating with the neutrality of words.

Instead of using hyperlinks I interrupted the narrative in various points by using brackets and quoting to the number of the image the reader should see, in terms of proofs. I designed the artist book to look like a conventional novel; typeset on Times New Roman, 14 points.






































































Fictional Biography, work in progress, 'analogue hyperlinks'. Photo by Nikos Georgopoulos


















Love song, video on display as part of the installation. Photo by Nikos Georgopoulos



















'Love-song' is the 2nd part of 'Broken Telephone'; it's a video performance and functions as an extension of the story of 'Fictional Biography'. By impersonating 'the young man who was in loved with her' I wrote and performed the song; I employed a rough approach as to create a sort of 'you tube', 'Google images' aesthetics. In addition to that, the installation works through the familiar language of advertising; 'Fictional biography' is an upcoming book and 'Love-song' its promo, viral video.


 

Nikos Georgopoulos

Camberwell College of Arts 'Work-in-progress show', Signage (posted on 19/12/11)



















In December 2011 I was offered to work on the signage system for the Work-In-Progress Show at Camberwell College of Arts' MA Graphic Design students.

Considering the fact that the exhibition was specifically organized for them to display their work in progress I thought that it would be much more fair and relevant to create a flexible and random-like -but not cheesy- visual framework for the work to be exhibited as opposed to a graphical and sophisticated look for labeling work.





































I came up with the idea to label each student's work by sticking a Post-It note next to it; an idea which I developed further to create an informal exhibition identity as well as the signage for the show.

The idea was inspired by watching the last-minute preparation of the BA Illustration students Work-In-Progress Show. During their exhibition set up, and, before they set their work on the walls, they had marked each one's space by posting Post-It notes. When the exhibition began, they had placed their work on the walls; removed the Post-Its and had replaced them with the white gallery-like labels showing student's name and project title in Helvetica Bold.



































Concept, Art direction & Design: Nikos Georgopoulos
Printing arrangement: Chrisostomos Iosifides

Nikos Georgopoulos




Tuesday, 13 December 2011

Work in progress (posted on 13/12/11)

'Who works the longest hours in Europe?' Screen shot.


























Find out how many hours people work in different jobs and across the EU. As Europe's leaders gather to discuss how to rescue the mediterranean economies and safeguard the single currency, it's tempting to resort to crude national stereotypes of prudent, hard-working Germans and lazy Greeks.

Re-posted from the Guardian.
Read more here.


Nikos Georgopoulos

Sunday, 11 December 2011

'Sequential images & narrative structures', flyer (posted on 11/12/11)

Sequential images & narrative structures, exhibition flyer. Designed by Nikos Georgopoulos.

















Camberwell College of Arts' MA Graphic Design students organized a public screening event to showcase the work they produced during the video workshop 'Sequential Images and Narrative Structures'.

I designed a poster / flyer for the public screening in a way that as one unfolds it, a pattern sequentially appear symbolizing the concept of narrative. As a poster, its function is to visualize the narrative structure which can be by doing A; B or C. But, it can be random as well; it depends really.

























































The video workshop was set and supervised by the German London-based artist Sigune Hamann. Printed in London, in a limited edition of 120 copies.

Nikos Georgopoulos

Archizines (posted on 11/12/11)


















I always thought that books about Architecture -Architectural practice as well as Architectural journals- are examples of excellent design -Graphic Design.

Archizines is an exhibition curated by Curator and Writer Elias Redstone which showcases new architecture fanzines, journals and magazines from around the world that provide an alternative to the established architectural press.

Title / Issue number: Another Pamphlet 02 - "Repetition"
Publication date: August 2011
Location: New York City, USA
Language: English
Format: A4 photocopied, folded and stapled
Size: A5
Title / Issue number: mono.kultur #18 / MVRDV: On Statics and Statistics
Publication date: Autumn 2008
Location: Berlin, Germany
Language: English
Format: softcover, staplebound
Size: 15x20cm
PIDGIN #10
April 2011
Princeton, New Jersey, USA
170 x 240 mm

























































The exhibition is hosted by the Architectural Association School of Architecture in London (AA) from 5/11/11 - 14/12/11. Not to be missed! 

Nikos Georgopoulos

Saturday, 10 December 2011

Inspiring disasters (posted on 10/12/11)

























The Cloud is  a pair of residential highrises reaching 260 and 300 meters in Seoul, Korea by Rotterdam-based architecture practice MVRDV. They should be finished by 2015.

In my view, the aforementioned towers look like they are inspired by the 9/11 disaster. Having said that though, they are impressive. After all a disaster can be inspiring.

http://www.mvrdv.nl/#/news
http://www.designboom.com/weblog/cat/9/view/18051/mvrdv-the-cloud.html



It's like a pixel explosion. Conceptual and semiological extensions!

Nikos Georgopoulos