Relocating knowledge.Tapping into private inspiration and making it public as a catalyst for ideas.

While preparing for the trip to Athens I thought about various interpretations of "Counter Public Spheres". I was aware that political discourse about platforms for discussion wasn't one of my motivations, and so I wanted to go back to my place in this discourse. I realised that in many ways my practice as a painter was counter-public; insular, solitary investigation and endeavour which then becomes public.

This was going around my head when I met an Athenian mathematician on the plane, and it occurred to me that all studies have this period of private investigation, which only after refinement and processing become public. In academic spheres the protocol of peer reviewing ensure the quality and validity of statements and findings, but remove the work further from the personal impulse of an idea.

When the second and third person I met were two unemployed academics, an engineer and a physicist, I began to examine the effects of an economic crash on the production of research and the freedom of academic endeavour. How could i relocate this knowledge and validate the starting points as ideas worth sharing.

So i started to imagine a small publication. With a compilation of submissions from academics around athens. This includes fragments of work, snippets from text, photographs etc. The purpose of this publication is to reactivate thoughts crossing the sciences and arts, releasing them into the domain.

We are creating a counter public sphere for the raw idea in any intellectual thought.

PANTELIS GIANNAKIS

The first images are from an exhibition about Cyborg Bodies(title Got No Papa- Mommy)mostly influenced from this books.1. Raqs Media Collective «A Concise Lexicon» 2. Donna Haraway «A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century» 3. Lynn Hershman «Agent Ruby» 4. Marina Grzinic «Dragan Zivadinov’s «Biomechanics Noordung»»

My work is an installation of a projected live running code showing the image of a digital heart and subsounds.Cybernetic as a perceptual control theory has been used for modeling living systems.-----------------------------------------------------------------------------------The second images are from another exhibition called The cloth as a house of the body.Sorry i don't have the documentation images yet so a few and only low quality..I am using rawhide/pelt stretched with leather rope.The words opti-on-s are cutted. Influenced from political situations and the new possibilities that come from our personal opti-on-s when they formed in us.-------Transformations are video and images. (1image, http://vimeo.com/16228315)My work explores urban change and the cultural, social and implications of these.

PANTELIS GIANNAKIS

CANNES FILM FESTIVAL 1968 DOCUMENTARY SHOWN AT EMPROS ATHENS

Rose; have you ever done and performances here?

Me? I made, outside, a project; I made a kind of lottery, I made a lottery which was called “A lottery for the Salvation of the Country”, so..patriotic. The first prize was a fur, a real fur, so I asked the people to buy a ticket for 20 cents, you know a little tiny sum. So this was fun, and most people understand Its for the store also, because there is an old lady who has been making a lottery for many years, and every year with the first prize giving a fur, and making his lottery with fur, so it goes something like this. And of course for 20 cents you can never buy a real fur, because furs are very expensive here, at least €500 I guess.

Rose; what do you think about the previous Athens Biennials, were you involved in any of those?

Only as audience, but I have been close to the people who always have been there. I like more this biennale, generally though with biennales though it is not representative of all art, it is more representative of the art of the time. I don't mean in terms of the works, but in terms of the environment, the atmosphere and the context of the time. So I like very much this biennale, its more friendly, there is no glass, you know?

Extract from a conversation with Maria Sarri

PIE CHART SPAIN 1991

Monodrome 3rd Athens Biennial space

These next photographs are a photographic project between Athens and Venice. Both cities are a huge hub for travel, arts and graffiti. Graffiti art is increasing in these cities. It is more socially visible through economic downturns hitting architecture constantly throughout the cities. Graffiti art is heavily globalised and more aesthetically pleasing than a street shop in tourist locations. This also hit the walls of the Monodrome 3rd Athens Biennial space. It's important to recognise a cool-subversion of using graffiti art in these spaces. However the misinterpretation of graffiti art is that it never actually solves those economic downturns but really it creates a franchise of mish-mash dialect, visual debate and other weird graffiti artists.

Rose Parish

VENICE 2011

Monodrome 3rd athens Biennial space

CONTRIBUTORS

Stavrilena Kittiri- Mathematician, AthensManolis Daskalakis-Lemos – Artist, AthensPantelis Giannalis – Artist, AthensMaria Sarri – Artist, AthensPaul Mulhearn – Architect, England

EditorsLucy Somers- Artist, LiverpoolRose Parish- Artist, LiverpoolAnna Mulhearn – Artist, Liverpool