processinganextraction

The exhibitional project processinganextraction  / επεξεργάζοντας της πόλη was inspired by the historical remnants of the ancient city of Thorikos Lavreotikis. Thorikos is an archeological field with an ancient theatre, vaulted tombs and tunnels. It was inhabited since the 4th century B.C. and was a mining center and a center for metallurgy (lead and silver), therefore it is considered to have been Europe’s first industrial city. Sculptural installations were produced for this site-specific visual presentation. 

Concept and curated by Naira Stergiou & Eriphyli Veneri

for the Thorikia Festival of the Municipality of Lavreotiki

Flotation building of the Lavrion Technological and Cultural Park (LTCP), Lavrion / East Attica

04 – 12.08.2018

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Naira Stergiou

Again that CALVARY. I don’t want that fucking stone. Oedipus put your eyes back.

in situ installation, incense, duct tapes, glass, mirrors, plinths, dimensions variable

2018

The installation refers to the myth of the thorikios rock, which is the rock that Oedipus sat on before he was lifted to heaven. Thorikos is the ancient name of Lavrion and th thorikios petra (rock) is mentioned in Sophocles’ tragedy Oedipus at Colonus. In the last part of Sophocles’ work, the messenger informs us that the King is dead. He explains how the blind Oedipus, after the revelation of the horrible truth, left the city and entered the forest. It was there that he sat on the thorikios rock, from where the Gods transported him to Mount Olympus.

Part of the installation shows Oedipus’ path from torture to glory· another part shows the moment of the theosis and the sacrifice that man is required to undergo in order to become God· a last part serves as a parallelism to Sisyphus’ punishment.  Oedipus had to suffer, to walk his Calvary and sacrifice his eyes before sitting on the rock to be lifted to the Gods. On the other side, Sisyphus had a joyful life, but was though punished by being forced to roll a rock in eternity.  Conclusion: “Do it like Sisyphus”.

The text is part of the installation and includes verses from Sophocles’ drama (in ancient and new Greek as well as verses from hip-hop songs, staging a dialogue between Oedipus, Jesus, Sisyphus and visitor.

Eriphyli Veneri

Epitaphios (Procession I ) & Untitled

sculptures, mixed media, diemensions variable

Travelling Without Moving ATH/BER/ATH

video loop, 1' 02''

2018

Tangible cultural heritage. The past as a structural element of the present and future is an idea extensively discussed in material culture studies. "We use heritage to improve the past, making it better (or worse) by modern lights" (Lowenthal). The cultural heritage is not stable and unchanging, on the contrary, its character is meta-cultural: it conveys meanings, values and feelings through its constant reconstructions of contemporary configurations and modulations (Kirshenblatt-Gimblett). Indicatively, the Acropolis embodies all transformations and ideo-political discourses from its beginnings to its present: separated from its original function and its architectural intent, what remains is an imposing presence governed by the invisible; a meta-Acropolis (Oikonomou). The mingled space-times governing tangible cultural heritage (past-present-future, absence-presence) conceptually created Epitaphios (Procession I) and Untitled. The heavy becomes light, the unique multiple and the eternal fragile.

As part of the video series Travelling Without Moving, the third sequel ATH/BER/ATH reveals spatio-temporal shifts of tangible cultural heritage. These shifts are triggered by subjective factors and specifically through its internalisation, in the form of a sense or emotion that virtually connects with places and locations. A random formalistic element like a glass reflection causes an instant return to the whole in function.

Naira Stergiou

Again that CALVARY. I don’t want that fucking stone. Oedipus put your eyes back.

Eriphyli Veneri

Epitaphios (Procession I) & Untitled

Travelling Without Moving ATH/BER/ATH