Beyond Walden (on Thoreau’s Cabin) is a site specific installation (video/sound installation, wooden cabin) by Rika Krithara: “Based on Thoreau’s cabin, an installation about the safety of the shell. Constructing collectively a deserted, sinking cabin inside an abandoned architectural office, habitation widens negating the protective shell of a clear, expected structure. The potential of a fixed point of philosophical and poetic isolation transforms: the possibility of freedom is everywhere, in the infinity of the horizon. All possibilities are open – a vast space, this is “Walden”.
Aristotle Giannakouros and Hariklia Hari share their experience of the Ilissia forest in Athens. Both live nearby and incorporate the forest in their everydaylife activities: Aristotle accompanies his small daughter to school through the forest path, Hariklia walks her dog. These everyday small acts form a daily ritual. And can became a reverie. We can see its traces in the installation that consists of Sounds and Poems (A.G) and Microsculptures, Photos, Drawings and other Writings (H.H).
Sentimental Topography at the context of Microgeographies@Storefrontnyc project
Sentimental Topography is set up on the Offices‘ site. It fits in as a “pause” between the previous exhibition (“Transparencies and the Sacred”) and the next (“Thoreau’s cabin”: upcoming site specific installation by Rika Krithara).
At Transparencies and the Sacred we have witnessed the transformation of the abandoned site to a functional and emotional space. All artworks interacted to the site in a psychodynamic way; interacted with the personalities of the former owners, indicated the notions of enclosure and abandonment, and claimed a new dynamics of openness for it. In particular, the Cage incorporated objects and memories of the former office. It served as a heart of the fading space; still beating.
The Cage will be overwritten by Cabin, an art work on the notion of habitation, togetherness and collectivity. From the Cage till the Cabin, from abandonment to rehabitation, Sentimental Topography provides a pause.
During this pause we to experience the Office in its proximity to the forest; Go deep in the forest and deep in the Office.
The narrative of the Office is centered around two site specific installations
by capten and Zafeiropoulou k.
that form “Transparencies and the Sacred”
(the sacred) Last year Capten installed a cage-mousetrap. An old furniture of the place was incorporated: Microgeohgraphies centered the narrative of the Office aroung that trap.On Friday 26, Capten transformed the object into an everydaylife “sacred” object.
(transparencies)Katerina Zafeiropoulou intermingles the view of the window with the actual space, creating an inner perspective.
It’s happening now: Katerina Zafeiropoulou is drawing the leaves of the trees from the park by the office’s window.
Katerina says: I am trying to experience the “being” of the outdoors. Only a transparent boundary is separating us. So many differences, but everything can happen. I imagine that if I draw patiently I will be able to understand. Probably now “image” and “truth” are more confused. The landscape invaded into the room.