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I’m Eugenia. I grew up in Greece, but I’ve also lived in Germany and UK. These days I live in California. I’ve been a (terrible) nurse, a computer programmer, a (rather successful) technology journalist, and a filmmaker. In April 2012, after I had just finished an animated music video, I decided to try collaging after the knowledge I gathered from making the animation. I got hooked ever since!
Nous sommes à la fois tentés par l’hominisation des animaux, qui révèle souvent nos projections fantasmatiques et par la bestialisation des hommes, autre manière pour nous de figer l’autre dans une animalité » – Antoine Spire
Cette série de peintures-photographies, essaie de donner une réponse à une forme de dualité – qui revêt ici une part animale – par le médium de la peinture qui s’ajoute, coule, masque, le portrait. Pour au final, créer une osmose entre les deux médiums, donc entre l’animal et le portrait.
The Walking-Shelter is a human shelter stored within a pair of sneakers. Stored compactly in integrated net pockets within the shoe, the shelter expands out and around the body to form an enclosure that relies on the human frame as a supporting structure. The shelter accommodates for the body in a variety of ways and can be customised by the user to adapt to a variety of contexts and environments.
Above: DIY coffin. I imagined the design and the instructions to build your own coffin, based on the instructions of a very famous swedish DIY furniture brand.
Above: Breakdancing Jesus. Oil on Canvas 6’ x 4’
Inspired by a tiny newspaper photograph I found and kept many years ago, of a polish youth group breakdancing for the last pope. The completed painting is a construct based on a photo shoot I set up with a dancer friend of mine dressed as Jesus, and a found image of some Cardinals applauding the Pope in the Vatican.
This is an ongoing series of constructed photographs rooted in the forest. These works, carried out in Surrey, Hampshire and Wales,involve site specific interventions in the landscape, ‘wrapping’ trees with white material to construct a visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.
This is an open call to make your own ‘You Are Beautiful’ piece for an exhibition at the Mission Cultural Center for Latino Arts in San Francisco in January 2012. Get excited, get involved! Make something, make anything. Make the world a little more beautiful. There are absolutely no limitations or restrictions – Just create something uplifting, and send it in. It can be ephemeral or labor intensive. It can be massive in scale or exceptionally tiny. You decide! After the show is over, you can have your work returned or installed in the streets of San Francisco. All work must arrive to the gallery by January 6th, 2012. Pieces sent in advance of this deadline is appreciated, in order to better plan the final exhibition. Work may be curated for the show itself, though all work will be documented and included in the archives. Questions? Please contact us directly at email@example.com.
All work is due by Friday, January 6th, 2012 in San Francisco. Please send all work directly to the MCCLA in San Francisco: Mission Cultural Center for Latino Arts. Attn: You Are Beautiful. 2868 Mission Street. San Francisco CA 94110
Thirty Hosnis, an exhibition of Ali Ali at Articulate Baboon Gallery, Cairo, Egypt.
It has been over three years that I have been wanting to do this show, and it was always put off for the same reasons: one, I couldn’t find a gallery brave enough to take it on; and two, I wasn’t entirely ready to spend the rest of my life in prison. I’ve always found portraits and reproductions of Hosni, despite their hideous appearance, to be of a certain intrinsic value. And now that he’s gone, the image begins to evoke something cathartic, and dare I say, even nostalgic. This is, after all, the most iconic image of our generation. The image that frames our last thirty years. We all grew up looking at Hosni Mubarak, and there he was, peering right back at us: from behind public service desks, across airport terminals, bridges, and shoddy TV-edits and in the fine halftone prints of the covers of Al-Ahram Newspaper. There he was. Timeless, omnipresent, never changing. We have known no other image. This is our Marilyn. Our smirking Mao and our Campbell soup can. Our graceful Jackie O. There is something in the repetition of this image over time. Something as much to do with art as it does with us. The very same face. The same tired features. Faint colors, faint contrast. The images of a Hosni that is now gone. Images, reproduced over ten million times in the last thirty years, fading off the page, as he fades from our collective consciousness. A pharaoh no longer, a person no more. Hosni left without saying goodbye. And aside from his recent audio address, we’ll probably never see this face again. I like to think of this show as a sort of closure. A final collective glance at the man and those thirty years spent perched on our walls before we banish them both to the concrete annals of history. At a time when images of Hosni Mubarak are being taken down all over the country, there has never been a better time to put them up. ali ali
Above: Skates qui sèchent. Skateboards découpés, charnières, câble. 2004-2011