Ebony G. Patterson, Untitled (Among the weeds, plants, and peacock feathers), 2015. Print. Courtesy of the artist and Monique Meloche Gallery, Chicago.

The 7th Athens Biennale ECLIPSE, co-curated by Omsk Social Club and Larry Ossei-Mensah under the artistic direction of Poka-Yio, features artists based in North and South America, the Caribbean, Africa, and Europe, many of whom are exhibiting in Greece for the first time.

Eclipse highlights the obscured perspective of reality caused by the constant state of flux we are experiencing in our society now, it engages the social, political and spiritual changes of today’s global construct and in Athens itself, as a rising metropolis located at the intersection of Europe, Asia and Africa both physically and historically. Here’s our selection of works from the Biennale.

Zebedee Armstrong

Armstrong picked cotton at the local Mack McCormick farm and at the Thomson Box Factory for most his life. After being “visited by an angel” who warned him about the imminent end of the world in 1972, he went on to construct almost 1500 box calendars, trying to determine the exact date of the approaching doomsday.

Credit Pixcelle Photography Studios
Zebedee Armstrong, Untitled, 1988. Marker and paint on wood, 35 x 12 x 31,5 cm. Courtesy of christian berst art brut, Paris

Judy Chicago

Chicago tackles issues about feminism, birth and creation, the absence of birth imagery in art history, the construct of masculinity, genocide, the horrors of human suffering and most recently has addressed environmental destruction through various projects. She has works in the collections of major museums and galleries around the world.

Judy Chicago, Immolation from Women and Smoke, 1972. Fireworks performance. Performed in the California Desert. © Judy Chicago/Artists Rights Society (ARS), New York. Photo courtesy of Through the Flower Archives. Courtesy of the artist; Salon 94, New York; and Jessica Silverman Gallery, San Francisco.
Judy Chicago, Immolation from Women and Smoke, 1972. Fireworks performance. Performed in the California Desert. © Judy Chicago/Artists Rights Society (ARS), New York. Photo courtesy of Through the Flower Archives. Courtesy of the artist; Salon 94, New York; and Jessica Silverman Gallery, San Francisco.

Yorgos Prinos

Prinos’s work explores issues of power and violence at the intersection of human psychology and politics. His photos often feature the human figure in urban space, while devising suggestive and elliptical narratives using found footage from media or the internet.

Yorgos Prinos, Mannequin Head, London, 2019. Photograph, 35 x 50 cm. Courtesy of the artist.
Yorgos Prinos, Mannequin Head, London, 2019. Photograph, 35 x 50 cm. Courtesy of the artist.

Sanford Biggers

Biggers’ work is an interplay of narrative, perspective and history that speak to current social, political and economic happenings, while also examining the contexts that bore them. His diverse practice positions him as a collaborator with the past through explorations of American history.

Sanford Biggers, Eclipse, 2006. Wood, 7,62 x 5,08 x 50,8 cm. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.
Sanford Biggers, Eclipse, 2006. Wood, 7,62 x 5,08 x 50,8 cm. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.

Ebony G. Patterson

Patterson’s multilayered practice-in painting, sculpture, installation, performance and video-uses beauty are a tool to address global social and political injustices. Her beautiful and immersive gardens grow out of an entanglement of race, gender, class, and violence, with notions of memorial, blood and tears, as she seduces the viewer into acknowledging the darker truth lurking beneath.

Ebony G. Patterson, Untitled (Among the weeds, plants, and peacock feathers), 2015. Print. Courtesy of the artist and Monique Meloche Gallery, Chicago.
Ebony G. Patterson, Untitled (Among the weeds, plants, and peacock feathers), 2015. Print. Courtesy of the artist and Monique Meloche Gallery, Chicago.

Cajsa Von Zeipel

Cajsa Von Zeipel delves into identity, gender and queerness while interrogating ideals of classism through sculpture. Culling from sci-fi and fantasy aesthetics, she constructs her figures in brightly coloured silicone and adorns them with dollar store accoutrement turned glistening treasure. In resolute assertion of femme visibility and sex positive provocation, these beings celebrate a world of their own creation.

Cajsa von Zeipel, Catch and Kill, 2020. Pigmented silicon, mixed media, 127 x 195,6 x 182,9 cm. Photo courtesy of the artist and Company Gallery.
Cajsa von Zeipel, Catch and Kill, 2020. Pigmented silicon, mixed media, 127 x 195,6 x 182,9 cm. Photo courtesy of the artist and Company Gallery.

Olalekan Jeyifous

Jeyifous is a multimedia artist who leverages his background in architecture as a way to re-imagine social spaces around issues relating to community, and the built environment. Influenced by his Nigerian roots and immigration to the US as a child, Jeyifous uses his practices as a vehicle to investigate issues related sustainability, preservation, and the imagination of urban spaces that serve Black communities around the globe.

Olalekan Jeyifous, 12 Encounters (part I), 2021. “Hathor”. Augmented Reality sculptures. Application. Courtesy of the artist. Commissioned and produced by the Athens Biennale. Powered by Akular.
Olalekan Jeyifous, 12 Encounters (part I), 2021. “Hathor”. Augmented Reality sculptures. Application. Courtesy of the artist. Commissioned and produced by the Athens Biennale. Powered by Akular.

Klára Hosnedlová

Hosnedlová’s work explores historical sentiments as they crystallise in modern and contemporary design and architecture. Her sculptures, environments and site-specific installations recognise nostalgia as an essential feature of global culture, are indebted to Eastern European histories and the past collective mythologies.

Klára Hosnedlová, Untitled (from the series Nest), 2021. Cotton thread embroidery in epoxy frame. Courtesy of the artist and hunt kastner, Prague. Photo: Zdenek Porcal.
Klára Hosnedlová, Untitled (from the series Nest), 2021. Cotton thread embroidery in epoxy frame. Courtesy of the artist and hunt kastner, Prague. Photo: Zdenek Porcal.

Petros Moris

Through sculpture, video and writing, Moris work focuses on the entanglements between material memory, natural ecosystems, technological infrastructures and sociocultural transformation.

Petros Moris, Mouth System – Fading Sun (Nature of Translation - to Theresa), 2019. Marble, copper-electroplated PLA, spray paint, 140 x 42 x 20 cm. Courtesy of the artist and Singapore Art Museum.
Petros Moris, Mouth System – Fading Sun (Nature of Translation – to Theresa), 2019. Marble, copper-electroplated PLA, spray paint, 140 x 42 x 20 cm. Courtesy of the artist and Singapore Art Museum.

Ndayé Kouagou

Ndayé Kouagou is an artist and performer, whose practice always starts from texts of which he is the author. Voluntarily or involuntarily confused, he tries his best to bring about reflections on the three topics of legitimacy, freedom and love. The result is… what it is. He describes his work as “quite interesting, but not that interesting or maybe not interesting at all”.

Ndayé Kouagou, Are you always?, 2020. Printed vinyl, metal plates, 250 x 250 cm. Courtesy of the artist and Nir Altman, Munich.
Ndayé Kouagou, Are you always?, 2020. Printed vinyl, metal plates, 250 x 250 cm. Courtesy of the artist and Nir Altman, Munich.

Info is provided by the Biennale.

AB7: ECLIPSE is ongoing until the 28th of November.

 

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