Through a new dialogue that has emerged with artists and their works ,starting today we will present you in the Column “Performance”: Contemporary Greek & International Performers, through a recent project, accompanied by a personal statement, which accompanies the specific Performance and introduces the reader to the core of their work.
The “JE REVIENS TOUJOURS” (2017), is a poetic hybrid video documentation \short film in loop. The title its self gives the circular repetitive character of the narration. The passage of a day and the mural of Paul Delvaux (1952), located at the Casino-Kursaal in the centre of the Ostend, becomes the axes of the dialogue between the two locations. The southern coastline of Crete, that borders to the Libyan Sea, as one of the most south spots of Europe. The seaside of Ostend as one of the borders of North Sea-Europe. Among others,a historical site, in strategic position which during the World War II, played a crucial role. The juxtaposition of each selected locations of South and Nord, creates indirect comments on the differences, natural but also cultural of both sites. Through the stretched length time of the embroidery, this common female archetypical practise connects the two sites. The Paul Delvaux’s metaphysical language and his symbols becomes the subjects in action, the mermaid, the kites, the flags express the obscurity of our present time-Mary Zygouri
“JE REVIENS TOUJOURS” was presented in the exhibition “The Raft. Art is (not) Lonely” (22/10/17-15/04/18), Curated by Jan Fabre and Johanna De Vos at Mu.ZEE, Contemporary Art Museum of Ostend (BE)
Mary Zygouri, Born in Athens. Lives and works between Greece and Italy. Studied at the School of Fine Arts in Athens. Postgraduate studies -Master(M.A) in Fine Arts (2001-2004) at the Chelsea College of Art and Design, London. 2018: “La verità è sempre un’altra”, National Museum of Contemporary Art (ΕΜΣΤ) in collaboration with Galleria Nazionale d’Arte Moderna e Contemporanea (GNIAM)-Rome, “The Repetition of the Imposible”, SOLO SHOW at Prometeo Gallery di Ida Pisani-Milan. 2017: The Raft. Art is (not) Lonely, Ostend Trienale, curated by Jan Fabre and Johanna de Vos, organized by Mu.ZEE., Documenta 14, “Learning from Athens” ,“The Round Up Project \, M.K. 1979\M.Z 2017″.– Athens –Kassel 2016 : Fragile body – Material Body”, 3rd Venice International Performance Art Week co-curated section “THE DREAM OF ANTIGONE”, Palazzo Morra-Venice., [OUT] TOPΙAS , Prague Quadrennial of Performance Design & Space, Benaki Museum, Athens. 2015 : Bath of the Constitution ,Cittadellarte-Fondazione Pistoletto in collaboration IKSV-Istanbul. “Omonia” ,6th Athens Biennale, ISET Contemporary Greek Art Institute-Athens. “Movimento in semi-libertà” , I.C.E e Teatro Pubblico Pugliese, Fondazione Museo Pino Pascali. 2014: ”VENUS OF THE RAGS\ IN TANSIT\Eleusis, 2014» , Aischylian Festival-Elefsina . 2013: LABORINTUS, (Solo Show), Gallery Dino Morra Arte Contemporanea-Napoli. 2012:“Archive Rights 1”, “OPERA APERTA- Maria Karavela», ISET Contemporary Greek Art Institute-Athens, 2010: “LIQUIDATIONS ” IILA, Istituto Italo-Latino Americano, Rome(IT), Studio Stefania Miscetti, Rome. 2009: “Fattening Cells “,2nd Biennial Thessaloniki Drasis –“HELP”1rst Performance Festival-Thessaloniki.2008: “Fresco Bosco”, Certosa, Padula . 2007: “SHE DEVIL 2”, Studio Stefania Miscetti-Rome. 2006 “Protasis”, Action Field Kodra-Thessaloniki. 2005: “HACKING REALITY” Locus Athens, Theatre Square=Athens. In 2012 was awarded by the ΑICA Hellas.
The “JE REVIENS TOUJOURS” (2017), is a poetic hybrid video documentation \short film in loop. The title its self gives the circular repetitive character of the narration. The passage of a day and the mural of Paul Delvaux (1952), located at the Casino-Kursaal in the centre of the Ostend, becomes the axes of the dialogue between the two locations. The southern coastline of Crete, that borders to the Libyan Sea, as one of the most south spots of Europe. The seaside of Ostend as one of the borders of North Sea-Europe. Among others,a historical site, in strategic position which during the World War II, played a crucial role. The juxtaposition of each selected locations of South and Nord, creates indirect comments on the differences, natural but also cultural of both sites. Through the stretched length time of the embroidery, this common female archetypical practise connects the two sites. The Paul Delvaux’s metaphysical language and his symbols becomes the subjects in action, the mermaid, the kites, the flags express the obscurity of our present time-Mary Zygouri
