DIMITRIOS ANTONITSIS PRESENTS “LESSONS LEARNED” | Hydra School Projects
We're thrilled to share the 24th edition of the Hydra School Projects' contemporary art exhibition presented by the talented artist and curator, Dimitrios Antonitsis.
Explore the captivating world of contemporary art at the enchanting Old Market of the beautiful Greek island of Hydra.
Don’t miss this extraordinary event, where creativity and innovation converge to create an unforgettable artistic experience.
See you at the Hydra School Projects' exhibition!
Hydra School Projects @ Old Market
On view till: September 17th 2023
Opening Hours:
11:00-14:00 & 19:00 -22:00
Info +30 698 8024554
Artists:
KOSTAS LAMBRIDIS
EUGENIE LIVANOS
MALIN HEDERUS
JUDITH HUDSON
ODA JAUNE
ANNA PANGALOU
CHRISTINA NAKOU
OLYMPIA SCARRY
NIKOS TSIKOURAS
ADONIS STOANTZIKIS
FEDERICO VECCHI
ANDERS WIDOFF
Anders Widoff was born in Stockholm, Sweden (1953). He studied Fine Arts at the Valand Academy of Arts in Gothenburg and Film at The Royal Academy of Arts and the University in Stockholm during the late seventies.
After his education he mainly worked with filmmaking and, later on, with scenography for different theaters and theater-groups. Nowadays he is primarily recognized for his poetic artistic work in both painting, sculpture and installations, as well as for his genre crossing approach in his oeuvre.
Anders Widoff often works in an alternating manner between painting and sculpture, at times juxtaposed in an intimate dialogue with the location. His point of departure often consists of simple, neglected and seemingly unimportant items that he uses as a means of re-establishing their value, as well as an attempt to question different hierarchies and reclaim a language.
He has exhibited extensively in Sweden as well as worldwide, including large separate shows at important institutions as Modern a Museet and Liljevalchs Art Gallery in Stockholm, and abroad at Wiener Secession in Vienna and Overbeck-Gesellschaft in Lübeck.
During many years Anders Widoff held a professorship at the department of Arts at Konstfack, University of Arts, Crafts andDesign in Stockholm, Sweden and, later, as a professor in Painting at the Oslo Academy of Fine Arts, Norway.
At Hydra School Projects he shows small paintings on acrylic and drafting film. This type of work has reoccurred over the years, usually as a rest in between larger and more conceptual work.
Nikos Tsikouras (b. 1994, Thessaloniki, Greece) studied Fine Arts and Applied Arts at AUTH. He has participated in various exhibitions:
Remembering the Past-Building the Future, Thessaloniki (2016) / Inspiration - Russian avant-garde, Young Artists Lab at MOMus, Thessaloniki (2016) / Biennale of Art Schools, Thessaloniki (2017) / Physis Art Project, Berlin (2012, 2016, 2017) / Roots & Routes, Baltrum (2018) / Inhibition, Aarhus (2018).
His works Death and the video installation Speed leads to distance where used as stimuli by edgy experimental music bands in order to create sound. Nikos’ work is focused on repetitive motives (lines, dots, layers of colour) which construct an (after)-image through a predetermined process trying to mimic the digital. Like a human printer there is no directing during the construction of the image and the errors that occur are greeted as welcomed artistic events. He uses charcoal, pencils, acrylic spray, oil on paper and canvas but also he is an expert in traditional printing methods such as etching and linocut print. The core of each artwork is directly connected with the selected material in use not only physically but also allegorically resulting in multi-layered concepts.
During the last two years his work experienced a medium transfer from canvas to directly painting on walls; covering entire rooms with oscillating patterns in order to create a new post-graffiti approach between viewer and space. In that sense Tsikouras’ work becomes a vehicle to experience patterns in a more esoteric, meditative way.
Judith Hudson was born in New Jersey, but left the East Coast to study art at the University of California Berkeley, and California College of Art in Oakland, California. She moved back East to NYC in 1980.
Selected. group shows include:
The Drawing Center, NY, NY1980, 1984 / The New Museum, NY, 1982 / MOMA PS 1, NY 1984, 1994, 1997 / Visual Arts Center of New Jersey, 2012 / Parrish Museum, Southampton, NY, 2015 / Hampton Art Center, Southampton NY, 2016 / USC Fischer Museum of Art, 2017 / Jeffry Deitch Gallery, LA, CA 2020 / Guild Hall Museum, East Hampton, NY, 2021, 2022
One person shows NY:
Siegal Contemporary Art, Marlboro Gallery, Dinter Fine Arts, Rose Burlingham Contemporary, Axel Raben Gallery, Salomon Contemporary, Graham Modern Gallery, Rene Fatouhi Gallery
Selected One person shows outside NY:
Patricia Faure Gallery, Santa Monica CA / CaIbel Simenov Gallery, Columbus, Ohio / Cutler Stavardis Gallery, Boston MA
In 2009 she started making figurative work, and showed her “Sex Advice” Series, which used men’s anachronistic letters to the Playboy advisor and made them women’s letters instead. Hudson takes a feminist stand in the bedroom, using humor to show women can be as transgressive as men, and dispelling the myth that boys seek and girls fend off.
Her next series of one person shows were with Tripoli Gallery, Wainscott, NY, and include:
“Fur and Flesh”, “A Midsummer’s Night Dream”, “Under the Covers”, “Clowns”
Hudson sees the clowns as alter egos, artists with gender fluidity, fabulous make up and clothes.
The current work in Hydra shows the protagonist having sex with skeletons. Sex represents life, and the skeletons, the shortness of life. The character makes friends with this. She will go down trying. As Fats Waller says, “Let’s waltz the rumba”.
Eugenie Livanos (b.1970, London, UK) has studied painting and fine arts at Parsons. She has exhibited internationally in group shows (“Unsafe At Any Space,” Kenny Schachter, New York). Her most recent solo show was at Villa Flor in S-Schanf, Switzerland, February 2023.
Livanos’ painting focuses on expressionism but as an anti-style of art, appropriating the pictorial shorthand of (self)-advertising. As the artist states: “My self-portraits unveil the depth of my truth”. Accordingly her imagery is characterized by a focus on emotion as inspiration. The basis of her painterly gesture lies on an over dramatization with stark contrast; accurate depictions of reality and nature do not interest her.
Livanos refers to the use of clear shapes, vivid colors, and jarring contrasts in order to create images with emotional intensity. The lockdown canvases depicting the green juices and water or whiskey on the rocks premiering this summer at Hydra School Projects are theatrical, dramatic but not histrionic. Their self-esteem does not depend on the approval of the observer. The vulnerabilty of Livanos’ depiction is rooted in an esoteric feeling of self-worth. Her paintings have an overwhelming desire to be noticed; almost inappropriately are getting our attention.
Olympia Scarry (b. 1983, Geneva, Switzerland) is a Swiss American artist based in Milan, Italy. Olympia Scarry’s first solo institutional exhibition was held at Fondazione ICA in Milano in January 2022. Solo exhibitions were held at Hauser & Wirth, Seeing Things As They Are 2018 in Gstaad, VNH, No House Music, in 2018 in Paris, Apalazzo, Parallel Lines Meet At The Point of Infinity in 2019 and her most recent exhibition BioSynthetic held in Piacentini’s Torrione INA, in March 2023 both in Brescia, Italy. A permanent site-specific outdoor installation at Eleven Madison Park in NYC entitled, Eleven/Eleven was commissioned in 2018. She received her BFA from the American University in Social Psychology and Visual Art, her MFA in Studio Art at NYU and Curatorial Studies at the Institute of Fine Arts in NYC. Scarry is co-founder and co-curator of the Swiss Biennale Elevation 1049.
Scarry’s fascination “to materiality, its formations, biological roots, alterations, and the shelters in which they might form. Geo-specific iterations of something less defined” are at the core of Scarry’s work. Her choices reflect the ambiguities of power as they are transferred through thought and substance. Gravity and decay play a role in rendering solid forms, formless, in states of flux; caught as they are between weight and weightlessness, the urge to purify and record the material memory of time. Scarry examines these elements through synthesized organic matter such as pulverized metals, soap, crystal and salt.
White Noise, is a sculptural body of onyx works, in which an incision into the stratigraphic depths of tectonic movements, marks an attempt to suspend the tempo of time, even for just a moment.
(quote by Estelle Hoy from her text “Irrational Pavilions: Olympia Scarry” 2023)
Adonis Stoantzikis (b. 1984, Athens, Greece) obtained a BFA (Integrated Master) in painting from the Athens School of Fine Arts in 2011. His thesis received the B&M Theocharaki Foundation Award in 2013 and together with a scholarship from the I.K.Y Foundation he traveled to The Netherlands to do his Master Degree in painting. He studied at Hunter College, New York during an exchange program (2014). Currently, he is working towards his PhD completion.
Stoantzikis has been exhibiting internationally since 2010 in institutions and galleries including: Galerie Bart, Amsterdam, Laden für Nichts, Leipzig and the Miniature Museum, Amsterdam. While elements of landscape painting appeared in Stoantzikis’ s work early on in his career, the artist began his abstract series during the pandemic, which will be exhibited at Hydra School Projects for the first time. Coming full-circle from his early painterly imagery, Adonis will show a series of haptic swirls of polymer clay and glass, translating his texture research into sculpture. His innovative methods of paint and material application gives the object the sense of “letting a thing exist, rather than creating it.” In his abstract sculptures, Stoantzikis builds up cumulative layers of non-representational materials, showcasing a mysterious gradual evolution of matter. Thus, the incidental details and patterns that emerge blur the lines between illusion and reality: they oscillate between presence and absence, the seen and the unseen, suggesting both materiality and the void.
Born in Sofia, Bulgaria, in 1979, Oda Jaune studied at the Düsseldorf Academy of Fine Arts. Currently based in London, after 10 years in Paris, the artist has moved away from the German tradition to develop a tormented universe full of poetry. Intermingling tender, naïve, violent, sometimes erotic and funny visions, she explores an unconscious liberated from convention. Nourished by poetry, film and media culture as much as art history, Oda Jaune’s strange universe focuses on “everything that should not be said about the intimate and the social world”. Her paintings untangle and place the viewer in a position of abandonment without inhibitions.
Focused on details and proportions, she operates by juxtaposing elements - a principle that imposes itself in her visual narrative - using a precision borrowed from photorealism. Emotions and feelings emerge from the depths of the subconscious and materialize on the flat surface of the canvas. The spectator enters into the fairy- tale world of fantasy, only to find himself submerged in a vortex of emotions between love and eroticism, fear and pain.
Oda Jaune’s work has featured in a variety of exhibitions in Europe, including Heart – Romanticism in Contemporary Art, Musée de la Vie Romantique, Paris (2020), Hands – Solo Show, SEEN, Antwerp (2019), Peindre, dit-elle, chap. 2, Musée des Beaux-Arts, Dôle (2017), Intrigantes incertitudes, Musée d’Art Moderne et Contemporain, Saint-Etienne (2016), Peindre, dit-elle, Musée Départemental d’Art Contemporain de la Haute-Vienne, Rochechouart (2015), Confrontation avec Félicien Rops, Musée Félicien Rops, Namur (2011) and Tous cannibales, La Maison Rouge, Paris and me Collectors room, Berlin (2011). In 2018, the National Art Gallery in Sofia held a major retrospective of her work, Heartland. The exhibition included a catalogue published in September 2019 by Hatje Cantz. In 2023 the artist has been included in the major collective exhibition Immortelle, at MOCO Montpellier, France.
Kostas Lambridis (b. 1988, Athens, Greece) is a contemporary artist and designer based in Athens, Greece. After graduating fromDesign Engineering at Syros, he moved to Eindhoven, the Nether-lands to work for Nacho Carbonell studio, where he remained a vital member for more than 8 years. In the meantime he continued his studies at the “Contextual Design” master’s program of the DesignAcademy Eindhoven. His graduation project “Elemental Cabinet”brought him international attention and he participated in several group exhibitions across Europe and the US.
In 2021 he took part in ‘Rooted Flows’ Residency #2 by INResidence in Turin, Italy, which concluded in a monographic publication about his practice. In 2021, he presented his debut solo show“Elemental Folds” at Carpenters Workshop Gallery in Paris and he is currently preparing his second solo exhibition which will be hosted at the New York facility of CWG in September 2023. Kostas Lambridis takes an active part in the production of his work by hand, due to his interest in materials and construction techniques, developing original theoretical research on the meaning of each operation.
To quote Lidewij Edelkoort: “Lambridis’ work spans centuries of shaping and decorating, from a cavernous cave man aesthetic to baroque citations; a virtual future forged from neon writings with stained glass and a broken disco ball. As much an artist as a designer Kostas trespasses the borders between these two domains and creates iconoclastic hybrids that bridge diverse domains, merging a hedonistic sustainability with bewildering sensationalism.”
Malin Hederus was born in Stockholm (1950), Sweden and graduated from Konstfack, University of Arts, Crafts and Design, Stockholm (SE) and later on College of Fashion Design, Stockholm (SE). From an early age she has had an interest in both painting and textile craft and has a vast education in both fields. This has led to a versatile knowledge of textile techniques, which she has used both as a teacher and in her own practice.
For a number of years she worked with sets for theater and dance productions, but above all with theater and dance costumes. After making a few exhibitions with her own painting, she stated that she did not want to see a continuance.
As a teacher in fashion-design with study trips to Paris every year, she followed the fashion scene closely during the 21st century. In fashion she found an innovative and conceptual three-dimensional thinking that was extremely inspiring, and also initiated a profound interest in pleats and drapes.
Around 2010, she co-founded the Swedish Shibori Society, which experimented with the Japanese and worldwide craft technique where folding, blocking and dyeing are used to create patterned fabrics. Through this work she participated in group exhibitions both in Sweden and internationally, such as China and Mexico. Already in these early exhibitions she had abandoned the idea of craftsmanship and instead showed multilayered open textile works of art. Since then Malin Hederus has shown her work in municipal Art galleries, private galleries and other venues in Sweden.
The materials usually consist of fabrics of multiple kinds that are folded, draped and later processed into a sculptural form. Often the transparency of tulle is formed as a bundle to get a three-dimensional painting or drawing trough shadows and layers of colours - almost like a transparent shell also showing its interior. In some other works a taffeta with a weft of metal is wrought into a landscape seen from outer space. The pieces are all open to rich, but incoherent, associations. Hydra School Projects will display works made in silk, plastic mesh, tulle and taffeta.
The character is subtle, poetic and fragile.
Christina Nakou (b. 1973, Athens) studied painting, mosaic, and sculpture at the Athens School of Fine Arts. She has presented her work in art projects and solo/group exhibitions in Europe - among others in the Pati de les Dones, in CCCB Barcelona (Turn the Crisis Upside Down TraMod Residency, 2013) and in the Aby WarburgHouse in Hamburg (The Blind Spot Project, 2019). Next to her work as a visual artist, Christina has thoroughly researched and studied the ancient mosaics across the Mediterranean region travelling in Greece, Turkey, Syria, Jordan, Lebanon, Cyprus, Egypt, Tunisia, Spain, France and Italy. Her interest focuses on the fragmentary materiality of the ancient technique while proposing an interpretation of mosaics as a handmade mapping of time. In 2021, her work“Following the route of Water” was presented at the archaeological site of Ancient Messene in the form of a dialogue with the ancient monuments and the natural environment. In June 2023 her work“Reflections” will be presented in the garden of the Italian Embassy in Athens - together with Italian artists Antonello-Ghezzi - suggesting the sea as a surface of reflection of the universe.
In “Love Letters to Giordano” presented at Hydra School Projects,Christina presents two large scale mosaic pieces in which innumerable marble and bronze tesserae seem to be floating in the mortar background, creating dynamic forms that expand around multiple centers. Like giant mirrors, the pieces invite the visitor to perceive space as a reflection of the inner self and to contemplate what would facing the infinite mean. Her work draws inspiration by the philosophy of Italian poet and astronomer Giordano Bruno, who used love poetry in order to understand truth.
“To contemplate the infinite means, in particular, to think of oneself as a tiny part of a Whole; it means to enthusiastically demonstrate the certainty that one’s life too participates, in proportion, in the incessant movement of the Universe.”
Nuccio Ordine, “La soglia dell’ombra: Letteratura, filosofia e pittura inGiordano Bruno”, Venezia, Marsilio Editori, 2003, p. 225
Anna Pangalou (b. 1971, Athens, Greece) is a performer focusing on sound. After having been formally trained as a classical singer, she started exploring the boundaries between classical vocal practices and experimental sound. She has studied classical singing in Cannes, Vienna, Rome, and Athens. Anna has received awards and scholarships, among others, from the Onassis Foundation, theFulbright Foundation, and the International ‘Dimitri Mitropoulos’ singing competition. She has appeared as a soloist in Greece,Austria, Germany, Italy, France, Egypt, Turkey, and the UnitedStates, performing Opera, Lied, Oratorio, New Musical Theatre and Contemporary Music.
Her focus shifted when the distinctiveness of her voice was recognised by experimental composers of the 20th and 21st centuries, who requested her to perform their works (Alvin Lucier, “Soyou”, documenta 14, 2017 / Open Day, Onassis Stegi, 2012-2020 / Dimitris Kamarotos, “Suspended”, Prometheus Bound, Stavros Niarchos Foundation Cultural Centre, 2020-2021). In 2019, Anna started creating in situ sculpture, sound, performance, and installation works in gallery spaces. Her forays into soundscapes and acoustic ecology focusing on breath, water, and space as a 3D score, have been presented as sound landscapes (Onassis Stegi, 2020 /Rome Art Walk, 2021 / Ngallery 2021, 2022). In the past year, Anna has collaborated with artist Christina Nakou on the “Transiens Nostrum” project, a poetic circumnavigation of the Mediterranean.
“Letters of Wind / Wind of Letters” will premiere as a sound installation at Hydra School Projects 2023. On the top of a terrace at the former Municipal Market of Hydra, a brachychiton populneus tree is rustling in the wind, amongst chirping birds and murmuring sound of A/C. A web of copper wires and stripes interconnect the tree and the air conditioner unit, gently moving by the air and the A/C vibrations while reflecting natural light. Repurposed copper threads create a structural net, on which the strategically positioned seed pods of the brachychiton rattle by the wind. Nine copper stripes engraved with wind inspired phrases link the metal net to the air conditioner and vibrate by its movement. The sound sculpture is used as a 3D score for live performances that Pangalou will stage throughout the duration the exhibition. Pangalou’s voice uses wind sounds that turn into words and vice versa, while a copper tin, davas, full of brachychiton seeds, produces a sound that resembles sea waves. A recording of the performance will be interwoven with the natural soundscape and the sound of the sculpture. According to Pangalou the light reflecting copper is a metaphor for the fluid continuum between existence (seeds) and space.
Federico Vecchi (b. 1980, Scandiano, Italy) studied painting at the Accademia di Belle Arti of Bologna in Italy. He moved later to Austria where he also assisted artists like: Hermann Nitsch, Erwin Wurm and Daniel Spoerri. Federico Vecchi lives and work in Vienna, Austria. His work was exhibited in Italy, Austria, Germany, Czech Republic and Greece.
Public collections including Vecchi’s art: Museo Città di Rimini, Italy; Istituto Italiano di Cultura, Vienna, Austria; Galleria d’ Arte Moderna of Catania, Italy; Archivio Viafarini, Fabbrica del Vapore, Milano, Italy.
The body of work of Federico Vecchi consists of different series such as paintings, sculptures, drawings and graphics and is characterized by a particular interest in the mutual and symbiotic relationship between painting and sculpture. The imprint is a theme that characterizes all his research in recent years. It can be found in the sculptures which are plaster casts created with the aid of precarious and therefore disposable mould built with recycled plastic material from by-products of daily consumption which leaves its mark in the plaster, generating a sort of aesthetic metabolization of everyday life.
The imprint theme which appears in the sculptures is also leitmotiv of the paintings. The aim of the artist was to imitate digital and graffiti lookalike effects with classical paintings techniques creating figure-ground illusions and lookalike Photoshop effects. Federico Vecchi usually begins with spray painted background on which he paint with acrylic color, then the brushstrokes are partially washed away leaving just an imprint of themselves, later some parts of the painting are masked with liquid clay and sprayed again. A plainly sculptural material is present in the painting with its absence. The technique denies the gesture of painting to counterfeit the pictorial trace which leaves only an imprint of itself.
Images and text courtesy Hydra School Projects
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DIMITRIOS ANTONITSIS PRESENTS “LESSONS LEARNED” | Hydra School Projects
We're thrilled to share the 24th edition of the Hydra School Projects' contemporary art exhibition presented by the talented artist and curator, Dimitrios Antonitsis.
Explore the captivating world of contemporary art at the enchanting Old Market of the beautiful Greek island of Hydra.
Don’t miss this extraordinary event, where creativity and innovation converge to create an unforgettable artistic experience.
See you at the Hydra School Projects' exhibition!
Hydra School Projects @ Old Market
On view till: September 17th 2023
Opening Hours:
11:00-14:00 & 19:00 -22:00
Info +30 698 8024554
Artists:
KOSTAS LAMBRIDIS
EUGENIE LIVANOS
MALIN HEDERUS
JUDITH HUDSON
ODA JAUNE
ANNA PANGALOU
CHRISTINA NAKOU
OLYMPIA SCARRY
NIKOS TSIKOURAS
ADONIS STOANTZIKIS
FEDERICO VECCHI
ANDERS WIDOFF
Anders Widoff was born in Stockholm, Sweden (1953). He studied Fine Arts at the Valand Academy of Arts in Gothenburg and Film at The Royal Academy of Arts and the University in Stockholm during the late seventies.
After his education he mainly worked with filmmaking and, later on, with scenography for different theaters and theater-groups. Nowadays he is primarily recognized for his poetic artistic work in both painting, sculpture and installations, as well as for his genre crossing approach in his oeuvre.
Anders Widoff often works in an alternating manner between painting and sculpture, at times juxtaposed in an intimate dialogue with the location. His point of departure often consists of simple, neglected and seemingly unimportant items that he uses as a means of re-establishing their value, as well as an attempt to question different hierarchies and reclaim a language.
He has exhibited extensively in Sweden as well as worldwide, including large separate shows at important institutions as Modern a Museet and Liljevalchs Art Gallery in Stockholm, and abroad at Wiener Secession in Vienna and Overbeck-Gesellschaft in Lübeck.
During many years Anders Widoff held a professorship at the department of Arts at Konstfack, University of Arts, Crafts andDesign in Stockholm, Sweden and, later, as a professor in Painting at the Oslo Academy of Fine Arts, Norway.
At Hydra School Projects he shows small paintings on acrylic and drafting film. This type of work has reoccurred over the years, usually as a rest in between larger and more conceptual work.
Nikos Tsikouras (b. 1994, Thessaloniki, Greece) studied Fine Arts and Applied Arts at AUTH. He has participated in various exhibitions:
Remembering the Past-Building the Future, Thessaloniki (2016) / Inspiration - Russian avant-garde, Young Artists Lab at MOMus, Thessaloniki (2016) / Biennale of Art Schools, Thessaloniki (2017) / Physis Art Project, Berlin (2012, 2016, 2017) / Roots & Routes, Baltrum (2018) / Inhibition, Aarhus (2018).
His works Death and the video installation Speed leads to distance where used as stimuli by edgy experimental music bands in order to create sound. Nikos’ work is focused on repetitive motives (lines, dots, layers of colour) which construct an (after)-image through a predetermined process trying to mimic the digital. Like a human printer there is no directing during the construction of the image and the errors that occur are greeted as welcomed artistic events. He uses charcoal, pencils, acrylic spray, oil on paper and canvas but also he is an expert in traditional printing methods such as etching and linocut print. The core of each artwork is directly connected with the selected material in use not only physically but also allegorically resulting in multi-layered concepts.
During the last two years his work experienced a medium transfer from canvas to directly painting on walls; covering entire rooms with oscillating patterns in order to create a new post-graffiti approach between viewer and space. In that sense Tsikouras’ work becomes a vehicle to experience patterns in a more esoteric, meditative way.
Judith Hudson was born in New Jersey, but left the East Coast to study art at the University of California Berkeley, and California College of Art in Oakland, California. She moved back East to NYC in 1980.
Selected. group shows include:
The Drawing Center, NY, NY1980, 1984 / The New Museum, NY, 1982 / MOMA PS 1, NY 1984, 1994, 1997 / Visual Arts Center of New Jersey, 2012 / Parrish Museum, Southampton, NY, 2015 / Hampton Art Center, Southampton NY, 2016 / USC Fischer Museum of Art, 2017 / Jeffry Deitch Gallery, LA, CA 2020 / Guild Hall Museum, East Hampton, NY, 2021, 2022
One person shows NY:
Siegal Contemporary Art, Marlboro Gallery, Dinter Fine Arts, Rose Burlingham Contemporary, Axel Raben Gallery, Salomon Contemporary, Graham Modern Gallery, Rene Fatouhi Gallery
Selected One person shows outside NY:
Patricia Faure Gallery, Santa Monica CA / CaIbel Simenov Gallery, Columbus, Ohio / Cutler Stavardis Gallery, Boston MA
In 2009 she started making figurative work, and showed her “Sex Advice” Series, which used men’s anachronistic letters to the Playboy advisor and made them women’s letters instead. Hudson takes a feminist stand in the bedroom, using humor to show women can be as transgressive as men, and dispelling the myth that boys seek and girls fend off.
Her next series of one person shows were with Tripoli Gallery, Wainscott, NY, and include:
“Fur and Flesh”, “A Midsummer’s Night Dream”, “Under the Covers”, “Clowns”
Hudson sees the clowns as alter egos, artists with gender fluidity, fabulous make up and clothes.
The current work in Hydra shows the protagonist having sex with skeletons. Sex represents life, and the skeletons, the shortness of life. The character makes friends with this. She will go down trying. As Fats Waller says, “Let’s waltz the rumba”.
Eugenie Livanos (b.1970, London, UK) has studied painting and fine arts at Parsons. She has exhibited internationally in group shows (“Unsafe At Any Space,” Kenny Schachter, New York). Her most recent solo show was at Villa Flor in S-Schanf, Switzerland, February 2023.
Livanos’ painting focuses on expressionism but as an anti-style of art, appropriating the pictorial shorthand of (self)-advertising. As the artist states: “My self-portraits unveil the depth of my truth”. Accordingly her imagery is characterized by a focus on emotion as inspiration. The basis of her painterly gesture lies on an over dramatization with stark contrast; accurate depictions of reality and nature do not interest her.
Livanos refers to the use of clear shapes, vivid colors, and jarring contrasts in order to create images with emotional intensity. The lockdown canvases depicting the green juices and water or whiskey on the rocks premiering this summer at Hydra School Projects are theatrical, dramatic but not histrionic. Their self-esteem does not depend on the approval of the observer. The vulnerabilty of Livanos’ depiction is rooted in an esoteric feeling of self-worth. Her paintings have an overwhelming desire to be noticed; almost inappropriately are getting our attention.
Olympia Scarry (b. 1983, Geneva, Switzerland) is a Swiss American artist based in Milan, Italy. Olympia Scarry’s first solo institutional exhibition was held at Fondazione ICA in Milano in January 2022. Solo exhibitions were held at Hauser & Wirth, Seeing Things As They Are 2018 in Gstaad, VNH, No House Music, in 2018 in Paris, Apalazzo, Parallel Lines Meet At The Point of Infinity in 2019 and her most recent exhibition BioSynthetic held in Piacentini’s Torrione INA, in March 2023 both in Brescia, Italy. A permanent site-specific outdoor installation at Eleven Madison Park in NYC entitled, Eleven/Eleven was commissioned in 2018. She received her BFA from the American University in Social Psychology and Visual Art, her MFA in Studio Art at NYU and Curatorial Studies at the Institute of Fine Arts in NYC. Scarry is co-founder and co-curator of the Swiss Biennale Elevation 1049.
Scarry’s fascination “to materiality, its formations, biological roots, alterations, and the shelters in which they might form. Geo-specific iterations of something less defined” are at the core of Scarry’s work. Her choices reflect the ambiguities of power as they are transferred through thought and substance. Gravity and decay play a role in rendering solid forms, formless, in states of flux; caught as they are between weight and weightlessness, the urge to purify and record the material memory of time. Scarry examines these elements through synthesized organic matter such as pulverized metals, soap, crystal and salt.
White Noise, is a sculptural body of onyx works, in which an incision into the stratigraphic depths of tectonic movements, marks an attempt to suspend the tempo of time, even for just a moment.
(quote by Estelle Hoy from her text “Irrational Pavilions: Olympia Scarry” 2023)
Adonis Stoantzikis (b. 1984, Athens, Greece) obtained a BFA (Integrated Master) in painting from the Athens School of Fine Arts in 2011. His thesis received the B&M Theocharaki Foundation Award in 2013 and together with a scholarship from the I.K.Y Foundation he traveled to The Netherlands to do his Master Degree in painting. He studied at Hunter College, New York during an exchange program (2014). Currently, he is working towards his PhD completion.
Stoantzikis has been exhibiting internationally since 2010 in institutions and galleries including: Galerie Bart, Amsterdam, Laden für Nichts, Leipzig and the Miniature Museum, Amsterdam. While elements of landscape painting appeared in Stoantzikis’ s work early on in his career, the artist began his abstract series during the pandemic, which will be exhibited at Hydra School Projects for the first time. Coming full-circle from his early painterly imagery, Adonis will show a series of haptic swirls of polymer clay and glass, translating his texture research into sculpture. His innovative methods of paint and material application gives the object the sense of “letting a thing exist, rather than creating it.” In his abstract sculptures, Stoantzikis builds up cumulative layers of non-representational materials, showcasing a mysterious gradual evolution of matter. Thus, the incidental details and patterns that emerge blur the lines between illusion and reality: they oscillate between presence and absence, the seen and the unseen, suggesting both materiality and the void.
Born in Sofia, Bulgaria, in 1979, Oda Jaune studied at the Düsseldorf Academy of Fine Arts. Currently based in London, after 10 years in Paris, the artist has moved away from the German tradition to develop a tormented universe full of poetry. Intermingling tender, naïve, violent, sometimes erotic and funny visions, she explores an unconscious liberated from convention. Nourished by poetry, film and media culture as much as art history, Oda Jaune’s strange universe focuses on “everything that should not be said about the intimate and the social world”. Her paintings untangle and place the viewer in a position of abandonment without inhibitions.
Focused on details and proportions, she operates by juxtaposing elements - a principle that imposes itself in her visual narrative - using a precision borrowed from photorealism. Emotions and feelings emerge from the depths of the subconscious and materialize on the flat surface of the canvas. The spectator enters into the fairy- tale world of fantasy, only to find himself submerged in a vortex of emotions between love and eroticism, fear and pain.
Oda Jaune’s work has featured in a variety of exhibitions in Europe, including Heart – Romanticism in Contemporary Art, Musée de la Vie Romantique, Paris (2020), Hands – Solo Show, SEEN, Antwerp (2019), Peindre, dit-elle, chap. 2, Musée des Beaux-Arts, Dôle (2017), Intrigantes incertitudes, Musée d’Art Moderne et Contemporain, Saint-Etienne (2016), Peindre, dit-elle, Musée Départemental d’Art Contemporain de la Haute-Vienne, Rochechouart (2015), Confrontation avec Félicien Rops, Musée Félicien Rops, Namur (2011) and Tous cannibales, La Maison Rouge, Paris and me Collectors room, Berlin (2011). In 2018, the National Art Gallery in Sofia held a major retrospective of her work, Heartland. The exhibition included a catalogue published in September 2019 by Hatje Cantz. In 2023 the artist has been included in the major collective exhibition Immortelle, at MOCO Montpellier, France.
Kostas Lambridis (b. 1988, Athens, Greece) is a contemporary artist and designer based in Athens, Greece. After graduating fromDesign Engineering at Syros, he moved to Eindhoven, the Nether-lands to work for Nacho Carbonell studio, where he remained a vital member for more than 8 years. In the meantime he continued his studies at the “Contextual Design” master’s program of the DesignAcademy Eindhoven. His graduation project “Elemental Cabinet”brought him international attention and he participated in several group exhibitions across Europe and the US.
In 2021 he took part in ‘Rooted Flows’ Residency #2 by INResidence in Turin, Italy, which concluded in a monographic publication about his practice. In 2021, he presented his debut solo show“Elemental Folds” at Carpenters Workshop Gallery in Paris and he is currently preparing his second solo exhibition which will be hosted at the New York facility of CWG in September 2023. Kostas Lambridis takes an active part in the production of his work by hand, due to his interest in materials and construction techniques, developing original theoretical research on the meaning of each operation.
To quote Lidewij Edelkoort: “Lambridis’ work spans centuries of shaping and decorating, from a cavernous cave man aesthetic to baroque citations; a virtual future forged from neon writings with stained glass and a broken disco ball. As much an artist as a designer Kostas trespasses the borders between these two domains and creates iconoclastic hybrids that bridge diverse domains, merging a hedonistic sustainability with bewildering sensationalism.”
Malin Hederus was born in Stockholm (1950), Sweden and graduated from Konstfack, University of Arts, Crafts and Design, Stockholm (SE) and later on College of Fashion Design, Stockholm (SE). From an early age she has had an interest in both painting and textile craft and has a vast education in both fields. This has led to a versatile knowledge of textile techniques, which she has used both as a teacher and in her own practice.
For a number of years she worked with sets for theater and dance productions, but above all with theater and dance costumes. After making a few exhibitions with her own painting, she stated that she did not want to see a continuance.
As a teacher in fashion-design with study trips to Paris every year, she followed the fashion scene closely during the 21st century. In fashion she found an innovative and conceptual three-dimensional thinking that was extremely inspiring, and also initiated a profound interest in pleats and drapes.
Around 2010, she co-founded the Swedish Shibori Society, which experimented with the Japanese and worldwide craft technique where folding, blocking and dyeing are used to create patterned fabrics. Through this work she participated in group exhibitions both in Sweden and internationally, such as China and Mexico. Already in these early exhibitions she had abandoned the idea of craftsmanship and instead showed multilayered open textile works of art. Since then Malin Hederus has shown her work in municipal Art galleries, private galleries and other venues in Sweden.
The materials usually consist of fabrics of multiple kinds that are folded, draped and later processed into a sculptural form. Often the transparency of tulle is formed as a bundle to get a three-dimensional painting or drawing trough shadows and layers of colours - almost like a transparent shell also showing its interior. In some other works a taffeta with a weft of metal is wrought into a landscape seen from outer space. The pieces are all open to rich, but incoherent, associations. Hydra School Projects will display works made in silk, plastic mesh, tulle and taffeta.
The character is subtle, poetic and fragile.
Christina Nakou (b. 1973, Athens) studied painting, mosaic, and sculpture at the Athens School of Fine Arts. She has presented her work in art projects and solo/group exhibitions in Europe - among others in the Pati de les Dones, in CCCB Barcelona (Turn the Crisis Upside Down TraMod Residency, 2013) and in the Aby WarburgHouse in Hamburg (The Blind Spot Project, 2019). Next to her work as a visual artist, Christina has thoroughly researched and studied the ancient mosaics across the Mediterranean region travelling in Greece, Turkey, Syria, Jordan, Lebanon, Cyprus, Egypt, Tunisia, Spain, France and Italy. Her interest focuses on the fragmentary materiality of the ancient technique while proposing an interpretation of mosaics as a handmade mapping of time. In 2021, her work“Following the route of Water” was presented at the archaeological site of Ancient Messene in the form of a dialogue with the ancient monuments and the natural environment. In June 2023 her work“Reflections” will be presented in the garden of the Italian Embassy in Athens - together with Italian artists Antonello-Ghezzi - suggesting the sea as a surface of reflection of the universe.
In “Love Letters to Giordano” presented at Hydra School Projects,Christina presents two large scale mosaic pieces in which innumerable marble and bronze tesserae seem to be floating in the mortar background, creating dynamic forms that expand around multiple centers. Like giant mirrors, the pieces invite the visitor to perceive space as a reflection of the inner self and to contemplate what would facing the infinite mean. Her work draws inspiration by the philosophy of Italian poet and astronomer Giordano Bruno, who used love poetry in order to understand truth.
“To contemplate the infinite means, in particular, to think of oneself as a tiny part of a Whole; it means to enthusiastically demonstrate the certainty that one’s life too participates, in proportion, in the incessant movement of the Universe.”
Nuccio Ordine, “La soglia dell’ombra: Letteratura, filosofia e pittura inGiordano Bruno”, Venezia, Marsilio Editori, 2003, p. 225
Anna Pangalou (b. 1971, Athens, Greece) is a performer focusing on sound. After having been formally trained as a classical singer, she started exploring the boundaries between classical vocal practices and experimental sound. She has studied classical singing in Cannes, Vienna, Rome, and Athens. Anna has received awards and scholarships, among others, from the Onassis Foundation, theFulbright Foundation, and the International ‘Dimitri Mitropoulos’ singing competition. She has appeared as a soloist in Greece,Austria, Germany, Italy, France, Egypt, Turkey, and the UnitedStates, performing Opera, Lied, Oratorio, New Musical Theatre and Contemporary Music.
Her focus shifted when the distinctiveness of her voice was recognised by experimental composers of the 20th and 21st centuries, who requested her to perform their works (Alvin Lucier, “Soyou”, documenta 14, 2017 / Open Day, Onassis Stegi, 2012-2020 / Dimitris Kamarotos, “Suspended”, Prometheus Bound, Stavros Niarchos Foundation Cultural Centre, 2020-2021). In 2019, Anna started creating in situ sculpture, sound, performance, and installation works in gallery spaces. Her forays into soundscapes and acoustic ecology focusing on breath, water, and space as a 3D score, have been presented as sound landscapes (Onassis Stegi, 2020 /Rome Art Walk, 2021 / Ngallery 2021, 2022). In the past year, Anna has collaborated with artist Christina Nakou on the “Transiens Nostrum” project, a poetic circumnavigation of the Mediterranean.
“Letters of Wind / Wind of Letters” will premiere as a sound installation at Hydra School Projects 2023. On the top of a terrace at the former Municipal Market of Hydra, a brachychiton populneus tree is rustling in the wind, amongst chirping birds and murmuring sound of A/C. A web of copper wires and stripes interconnect the tree and the air conditioner unit, gently moving by the air and the A/C vibrations while reflecting natural light. Repurposed copper threads create a structural net, on which the strategically positioned seed pods of the brachychiton rattle by the wind. Nine copper stripes engraved with wind inspired phrases link the metal net to the air conditioner and vibrate by its movement. The sound sculpture is used as a 3D score for live performances that Pangalou will stage throughout the duration the exhibition. Pangalou’s voice uses wind sounds that turn into words and vice versa, while a copper tin, davas, full of brachychiton seeds, produces a sound that resembles sea waves. A recording of the performance will be interwoven with the natural soundscape and the sound of the sculpture. According to Pangalou the light reflecting copper is a metaphor for the fluid continuum between existence (seeds) and space.
Federico Vecchi (b. 1980, Scandiano, Italy) studied painting at the Accademia di Belle Arti of Bologna in Italy. He moved later to Austria where he also assisted artists like: Hermann Nitsch, Erwin Wurm and Daniel Spoerri. Federico Vecchi lives and work in Vienna, Austria. His work was exhibited in Italy, Austria, Germany, Czech Republic and Greece.
Public collections including Vecchi’s art: Museo Città di Rimini, Italy; Istituto Italiano di Cultura, Vienna, Austria; Galleria d’ Arte Moderna of Catania, Italy; Archivio Viafarini, Fabbrica del Vapore, Milano, Italy.
The body of work of Federico Vecchi consists of different series such as paintings, sculptures, drawings and graphics and is characterized by a particular interest in the mutual and symbiotic relationship between painting and sculpture. The imprint is a theme that characterizes all his research in recent years. It can be found in the sculptures which are plaster casts created with the aid of precarious and therefore disposable mould built with recycled plastic material from by-products of daily consumption which leaves its mark in the plaster, generating a sort of aesthetic metabolization of everyday life.
The imprint theme which appears in the sculptures is also leitmotiv of the paintings. The aim of the artist was to imitate digital and graffiti lookalike effects with classical paintings techniques creating figure-ground illusions and lookalike Photoshop effects. Federico Vecchi usually begins with spray painted background on which he paint with acrylic color, then the brushstrokes are partially washed away leaving just an imprint of themselves, later some parts of the painting are masked with liquid clay and sprayed again. A plainly sculptural material is present in the painting with its absence. The technique denies the gesture of painting to counterfeit the pictorial trace which leaves only an imprint of itself.
Images and text courtesy Hydra School Projects
