"I have a dream" - Photometria Awards 2019

Subject: I have a dream
1-30.4.2019

Competition "I have a dream" 2019

Exhibitions

SEE THE MAP WITH EXHIBITIONS

Under the auspices of Ministry of Culture and Sports, the Cultural Center of Ioannina and region of Epirus

Duration: 29.5-9.6.2019
Theme: I HAVE A DREAM
(The Entrance is free for all the exhibitions at Photometria Festival)

 

 

Photometria Awards 2019 "I have a dream"

Municipal Cultural multiplex (Palea Sfagia of Ioannina)

Duration: 29.5-9.6.2019

Mon.- Sun.: 10:00-14:00 & 18:00-22:00

Opening: 29.5.2019, 21:00

Exhibition of the 25 best pictures of "I have a dream" Competition 2019 & photobook exhibition of the 25 finalists of Φωτοbook Awards 2019.

 

 

Niko J. Kallianiotis, "America in a Trance"

Niko J. Kallianiotis? America in a Trance constitutes somewhat of a surprise as it follows in the tradition of street photography, a photographic genre that has long been receding. This is essentially a trip through the back roads of Pennsylvania, a glimpse into America's ?ipside whose social fabric is being drastically ruptured by the postindustrialist, globalised economy. His gaze captures empty storefront windows, vacant shops and warehouses, rows of identical houses, lonely figures walking the barren streets, distant enough to seem aloof. Their lives seem caught on edgy shadows and wire lines, inbetween a shiny exterior and an even darker everyday life.

His work is characterised by a meticulous study of the, often anonymous, language of the street (posters, storefronts, graffiti and signs), which elaborates on the thread of the visual vernacular, so ?nely woven by Walker Evans in interwar America, Lee Friedlander and William Eggleston in the 1960s, and later by Stephen Shore and other great photographers, who discerned the pulse and soul of their communities in the local dialect. Kallianiotis's photographs are distinguished by the precise use of form and colour, which builds the backbone of the images along with often critical details that highlight individual points. The frequent use of a?ernoon and evening light favours the side light which lends a golden glow, like a hopeful note or an implicit metaphor for the potential twilight of the West.

This is street photography consciously devoid of action, without the vivid vitality of the snapshot, which attempts to touch upon the concerning truth of a society in ?ux. He often purposefully lets emerge obstacles in his ?eld of vision, such as plastic swans, statues of Liberty, and all the knick-knacks that decorate the microcosm of the American gardens. His images indirectly traverse the 2016 election campaign, the empty public space, the robust national symbols. Kallianiotis's ominous gaze also conceals a melancholy tenderness which can be possibly traced back to his own lived experiences: ?nding himself as an adolescent in the inde?nite and invisible space between two countries, both incomprehensibly familiar and uncanny. In fact, this might be the very merging point of the personal element and the pursuit of the social and collective in his body of work. It was Frank Zappa, though, the unconventional American artist, who emphasised that everything deeply personal eventually becomes ecumenical.

 Ηercules Papaioannou

 

Yiannis Pantelidis, "Nothing Personal"

The perimeter around Thessaloniki patrolled by Pantelidis constitutes an open pool where man registers traces, establishes activities, corrupts forms, exiles excesses or wastes. There he comes across saltworks and photovoltaic parks, anonymous graves and junk yards, shopping malls and petrol tanks, greenhouses and makeshift landfills, in a few words whatever the city vomits where its lining becomes frayed. In his wanderings, he locates paths engraved but seemingly unwalked, forms enigmatically balancing between the vague and the specific, the random and the intentional. Pantelidis reverently obeys the rules of non-involvement that an urbanite inherently brings to nature, and reads every ephemeral sign of the landscape as an open text, like the clothes hanging from an almost invisible wire or the humble bouquet perched on a fence pole. And he walks for hours and hours seeking nothing personal. However, when nothing seems personal, such can everything potentially become.

The nature to which he is guiding us struggles against an aging civilisation which grew old ignoring the precious meaning of symbiosis. Departure from nature began, with excess arrogance, at the beginnings of modernity. Perhaps this is why Malcolm Andrews, besides foretelling the thoughtless instrumentalisation of nature, estimates that western landscape art has also been, historically, acting as a register of how humanity became alienated from its initial place in a, now definitely lost, pre-capitalist world*. The suburban zone accumulated many great compromises and buried deep wounds with visible scars, while continuous human advancing suggested that everything can perpetually expand, that there will always be free space to abuse, a shelter to hide. The idea of the contemporary man almost fallen from two previously idealised worlds, natural and technological, is discreetly present in Pantelidis's work. And the landscape emerges not as attraction, a final destination, a vivid formulation of form and color, but as a question mark, poetically existential. As such, it crucially embodies the divergence between the elliptical circularity of the natural and the crooked linearity of the cultural, especially in its messy Greek version. And the photographs, as they very well know how to do, reveal plenty, suggest even more, while leaving everything almost intact, as a sort of unfinished business.

Hercules Papaioannou

**Andrews, Malcolm, Landscape and Western Art, Oxford university press, Oxford 1999, pp. 21-22.

 

Municipal Gallery of Ioannina,1st floor (Korai 1)

Duration: 30.5-9.6.2019

Mon.- Thu.: 08:00-15:00, Fri: 08:00-21:00, Sun.: 10:00-13:00 & 18:00 21:00

Opening: 30.5.2019, 21:00

In collaboration with Thessaloniki PhotoBiennale 2018

 

    

 

 

 

 

PHEN Exhibition (Photo Europe Network)

Eszter Herczeg (Budapest Photo Festival), Carmen Sayago (Photon Festival), Oana Stoian (Photo Romania Festival)

     

 

Eszter Herczeg, "Fathers"

In my series I examine the father image through my family as an experiment in self- therapy - as an artist and as a participant. I created double and triple images with selected objects based on their children's stories. Different generations took part in my project, their age ranging from 12 to 70. I took the objects out of their original context, expanding their meaning beyond their primary, everyday one. The way the pictures are positioned, both individually and as groups, are crucial in understanding and analyzing the symbolism of the object. I wanted the images of the siblings to communicate with each other, but also to define one another. This psychological voyage was quite difficult emotionally, but it helped me to see how the same father can be perceived or judged completely differently by his children, giving a new - more complex - approach of the father image.

 

Carmen Sayago, "Birds of pollution"

We live in a highly industrialized society in which we coexist daily with an environment saturated with chemical substances. We eat

them, we breathe them, we touch them ...

A part of the population has developed an adverse reaction to these substances and worse, they get sick.

Dizziness, vomiting, fatigue or loss of consciousness are some of the symptoms that people with multiple chemical sensitivity syndrome (MCS) have to deal with on a daily basis. Known colloquially as environmental disease, this pathology has its origin in the adverse reaction to various chemical compounds present in our food and environment. Those affected by this syndrome live ignored by institutions, by doctors and, even, misunderstood by an environment unable to recognize an imperceptible condition, which can not see or touch, nor feel, deriving patients to a social condemnation in which even questions their psychological integrity.

Birds of pollution collects the life of a series of women affected by MCS who need seclusion to survive, since they must obey a strict protocol that avoids contact with these chemicals or with people who have been exposed to these substances. The purpose is to keep away from home a threat that keeps their lives under a constant invisible danger, in a claustrophobic routine full of shadows. The home becomes an isolation chamber, perspective is lost and the relationship with an outside world that is becoming unreal.

 

Oana Stoian, "Ecce Homo"

"One of the most important aspects and the engine of this project lies in a type of dare dressed to the viewer - a filter of responsibility upon rationality if we can call it that way - namely looking for a purpose. Emphasizing with the viewer put in front of an image, understanding his need, I've discovered that this action of defining the sense is an assumed one alongside of the benefits and costs it brings. Thus I have extended this dare to my entire project, in the form of a series of questions. Is there something in particular that we need to follow? Are we perhaps looking for narrative that it's hard to capture? Should we take a perspective approach to set us straight?

Furthermore I would ask, an image that would set us straight, or one to please us? For this two positions I see one of the more important positions on which "Ecce Homo" is based on, the distinction between sense and aesthetic satisfaction. Does it make sense or do I like it?

Does it need to have sense for me to like it? And yet this sense as long as I look for it and assignee it myself in my perspective as a viewer doesn't it suffice your sense of self-satisfaction?

Moving on in this incursion of self sense, I subject this series of photographs to the viewers analysis, with a single and important observation, the awareness of ones question: Why did i think it that way? Going on a self psychoanalysis journey, I dare to attribute to my  photography  an instrumental role, a mirror for the conscience of each viewer, similar to a Rorschach test. I'm aiming for the fact that the viewer aware of his own effort will analyse not only the photograph itself, especially the personal interpretation of the photography, as well as themselves.

The project "Ecce Homo" presents the visual metaphors, the human metamorphosis, reported to the universe and to itself."  

 

Municipal Gallery of Ioannina, Ground floor (Korai 1)

Duration: 30.5-9.6.2019

Mon.-Thu.: 08:00-15:00, Fri: 08:00-21:00, Sun.: 10:00-13:00 & 18:00 21:00

Opening: 30.5.2019, 21:00

With the support of Embassy of Hungary in Athens

 

 

Constantin Pittas, "Images of another Europe"

From 1985 to 1989, Costantinos Pittas traveled to Western and Eastern Europe, crossed 17 countries capturing street scenes from both sides of the Wall. With a minimum of photographic equipment and quite a few black and white film rolls, he set off on a plan which was to remain unfinished. His aim was to show that the common ground of this divided Europe was its own citizens and their everyday life, no matter which "world" they belonged to. This project was encouraged by the high objectives of humanistic photography, most of all the conviction that the big European family was still there, beyond the borders and the Walls -and Photography had the way to reveal its existence.

And then, around the late 80s, almost simultaneously, two things happened. The collapse of Wall canceled the "theme" of the project, as all countries would soon become members of the European Union and rush to highlight their common roots. During that time, photography also entered a phase of intense criticism and  questioning of its relationship with reality. And Pittas thought that the collection of unique photos he had accumulated in just a few years was not making sense any more. He abandoned his plan and photography and literally "buried" the negatives without showing them to anyone. Twenty-five years later, this precious work is presented in its entirety for the first time in public. And perhaps it is nοt irrelevant  that the decision to show us his photos today,  coincides with the beginning of a looming crisis of the European Union.

Costis Antoniadis

 

Multi-use facility of Its Kale (Castle)

Duration: 31.5-9.6.2019

Mon.- Sun.: 10:00-14:00 & 18:00-22:00

Opening: 31.5.2019, 21:00

 

 

Daro Sulakauri, "Terror Incognita"

 

 

 

 

 

 

The Silversmithing Museum (Castle)

Duration: 30.5-9.6.2019

Wed.- Mon.: 10:00-18:00

Opening: 2.6.2019, 12:00

 

 

Saeed Rezvanian (ft. Farzaneh Radmehr), "Our Scattered Parts" 

Each memory has started disappearing since its rise time.

Time creates memories and annihilates them itself as well.

"Remembering" is going to a battle against time however during such a conflict there is nothing to be found except some scrappy parts.

 

This series is about memory and remembering. Plates are figurative of memory mechanism. The parts which appose beside together to make a substance (memory) and some parts are absent sometime. On the other hand plates are memory frangibility and susceptibility indication.

Old photographs in the series are selected from family album of common people about 1940 to 1970 in Iran.

There was a profession which called "Band-zani" in old Iran until some decades ago, and a person who called "Band-zan" (tinker) repairs broken porcelain or pottery dishes such a plate, bowl, pot , ... "Band-zan" usually goes like a tinker from a quarter to another. He makes two tiny holes in both sides of crack or flaw in back of dishes and punch top of two thin and small iron or brass wire inside holes then rubs special glue made from lime and albumen on crack and stick broken parts together. Dishes will be ready again to use after repairing.

Plates had bold and usual presence in ordinary life, either in individual area and personal area is used. The plates which have used in this series all are from sample of usable and popular plates at Iranian house between about 1900 to 1970 that some made in Iran and some from abroad. One of the most well-known plates which had special popularity between Iranian families was called "Gol-e-Sorkhi" (Red flower); its pattern was several red rose and blossoms between green leaves on white background.

 

Josef and Easther Gkani Institute (Soutsou26)

Duration: 1-9.6.2019

Mon. - Sun.: 09:00 - 14:00 

 

 

Cassio Vasconcellos, "Collectives"

In this series, Vasconcellos instigates a visual debate on the urban chaos of modern civilization by exploring jam-packed situations typical of our society: crowded beaches; cluttered car parking lots; motorcycle gatherings; huge aircraft boneyards in the US; masses of people; and the truck pandemonium in Sao Paulo's Ceasa, Latin America's largest municipal fresh food wholesale market. All these situations were shot using the right angle of a helicopter view. Constructed by using hundreds of photos shot during the project, the finalized images recreate an effect that juggles between reality and fantasy bluffing our senses in perfect tableaux compositions of color, line and geometry.

Cynthia Garcia

Art Historian / Art Critic

 

St George's Gate - (Castle of Ioannina)

Duration: 30.5-9.6.2019

Mon.- Sun.: 10:00-14:00 & 18:00-22:00

 

Parallel Voices

Constantine Marahov, Vasilis Zaverdas, Iria Spiliopoulou, Katerina Tsakiri, Kiriakos Michailides, Yiannis Zindrilis, Karla Guerrero,  Antigoni Metaxaki, Stratos Maragos

       

Amimoni Gallery (Tositsa 16)

Duration : 30.5-9.6.2019

Mon.- Sun.: 10:00-14:00 & 18:00-22:00

  

        

-1 Gallery, The Lounge Bar (Pargis Square)

Duration: 30.5-9.6.2019

Mon.- Sun.: 10:00-22:00

Opening: 1.6.2019, 22:00

               

Misiou Mansion

Duration: 30.5-9.6.2019

Tue. - Sun.: 09:00 - 13:00

Opening: 30.5.2019, 20:00

 

 

ENTEFXIS, "Freedom"

 

 

 

 

 

 

Municipality's Cultural Center of Ioannina (Agias Marinas 55)

Duration: 30.5-9.6.2019

Mon.- Sun.: 10:00-14:00 & 18:00-22:00

Opening: 1.6.2019, 21:00

Group exhibition of 15 Photographic Clubs "ENTEFXIS".

 

 

Miho Suzuki

"Nature is incomparable guide if you know how to follow her." Gustav Carl Jung

Why was I drawn to the mysterious rocks in Meliggoi?

As I walked up to the mountain in Meliggoi village I encountered a garden. Three incomparable shaped rocks were placed on the side of a hill. I was immediately invited to stand next to the mysterious rocks. The view from a hillside was breathlessly beautiful. As I turned to look behind me, I was surprised to see a tall engraved cross stone standing above a hill, acting as a guide to abet me to observe the landscape at the exact position. Three rocks consisted of natural elements and a symbiosis of geometric, lead me to experience an energy vortex of the mountain.

The Japanese word iwakura, a rock as a seat of a god, is considered to be sacred to which kami, a god who is invited to descend for worship. Such rocks are seen as a link to the world of the gods, and are thus considered as divine stones. Throughout Japan, such rocks may be referred to a variety of suggestive expressions including "divine descent stone," "divine sitting stone," "divine appearance stone," and ?kami footprint stone."

How was the mysterious rocks were placed? Who build this garden? Many questions were racing in my mind. The rocks and a garden generated a vortex that drew in positive energy due to the natural elements, geographic and scenic effects.

I continued to visit the site to photograph till the end of my residency at Meliggoi. What I discovered about the rocks and a garden was another surprise. 

 

Gallery of Meliggoi

Duration: 30.5-30.6.2019

Mon.-Sun.: 18:00-21:00

Opening: 8.6.2019, 21:00