The Talismanic Feminism of Artemis Potamianou by Faye Tzanetoulakou The Fence Always Has Two Sides – Which Side Are You On? The Fence Always Has Two Sides – Which Side Are You On? The recent quarantine highlighted the big issue of physical confinement. People came face to face with the loss of their freedom, and that […]
When screenplays become form by Delia Potamianou The practice of Artemis Potamianou has always dealt with two subject areas: dominance as it emerges from the practices of the institutions of power in society and the art world, and the art object itself through the qualities that define it as such. The practice of Artemis Potamianou
Your history, it’s not my story by Bia Papadopoulou Beautiful… as the accidental encounter, on a dissecting table, of a sewing machine and an umbrella Les Chants de Maldaror, Isidore Ducasse[1] Artemis Potamianou composes an environmental narrative on the female condition which unfolds in space and time. The defiance of social and artistic structures that characterizes her
The cages by Emmanuel Mavrommatis Since the early years of her postgraduate life, the work of Artemis Potamianou has been shaped around the idea of a systematic quest for the reason behind her artistic expression. The motive itself of expression is to Potamianou the object of expression, and that is a constituent element of her
The Cages by Emmanuel Mavrommatis | Τα κλουβιά του Εμμανουήλ Μαυρομμάτη Read More »
Artemis Potamianou’s On The Origins of Art by Thalia Vrachopoulos Upon first examination of Potamianou’s present series of 21 pieces, On the Origins of Art one may come away with the impression that they’ve encountered a Descartian linear dialog on the history of art. However, despite the show’s title that is based on Darwin’s The
Imaginary museums and private fantasies by Sotiris Bahtsetzis André Malraux in his well-known book Le Musée imaginaire de la sculpture mondiale (1952–54) introduced into the discourse around art the term ‘imaginary museum’, which has been often used by artists, art critics and theoreticians since then. Malraux argues that the advent of photographic reproductions of artworks enabled everyone
Artemis Potamianou loves contrasts as they arise in her ‘private’ games with time.
The time of history, as an ephemeral time, is present and self-evident in the dialogue via the works she exhibits at the Museum of Contemporary Art of Crete.
A museum of one’s own by Maria Maragkou | Ένα δικό μου μουσείο της Μαρίας Μαραγκού Read More »
PRETEXTS / DECEPTIONS / AFFIRMATIONS: JOURNEYS OF CONTRADICTIONS by Thaleia Stefanidou Trying out the tenacity of Art and its multiple contexts, Artemis Potamianou organizes her latest artistic testimony focusing on the triptych “Space-Artist-Creation” and interposing in its folds ongoing questions. Selecting Tate Gallery as an emblematic exhibition space and freeing Turbine Hall of Tate Modern
Artemis Potamianou’s Museum Series by Peter Suchin The German cultural critic Theodor Adorno, makes, in his book Prisms, first published in the 1960s, some astute observations on those paradoxical institutions we call museums. In considering the meaning of the word “museal” (museumlike) he makes a connection between this and another term, “mausoleum”, going on to
White Cube/Light White Cube by David Campbell “…What is happening here? Canvas, paper, or wall constitute a stage on which something happens (and if, in certain forms of art the artist intends that nothing happen, that too is an occurrence, an adventure). Hence, we must take the picture… as a kind of theater a l’Italienne: the curtain
