ARTISTS
Mediterranean Disturbances: On The Sea Of My Tttttongue
鈥淢editerranean Disturbances鈥�, is a project divided into two distinct exhibitions that create a dialogue around the concept of the Mediterranean, not only as a physical place, a basin between lands and the eternal cradle of civilization, but also as a cerebral space, a metaphor and a virtual space of a future that presents itself today more than ever as uncertain, complete with many pressing problems.
鈥淥n the Sea of my Tttttongue鈥� is the title of the group exhibition on the first floor. Here, Athenian curator Caterina Stamou has invited 10 young Greek artists whose works engage in a different and reciprocal relationship with the sea, thereby visualising new affective, material and cultural gestures. An exciting new project in which gramma_epsilon exhibits young Greek artists for the first time, this show opens up new ways of perceiving differences and elements of contact, and receiving suggestions and critical issues within this 鈥渟hort space鈥� that Jean Grenier suggests to us.
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鈥淢editerranean Disturbances鈥�, is a project divided into two distinct exhibitions that create a dialogue around the concept of the Mediterranean, not only as a physical place, a basin between lands and the eternal cradle of civilization, but also as a cerebral space, a metaphor and a virtual space of a future that presents itself today more than ever as uncertain, complete with many pressing problems.
鈥淥n the Sea of my Tttttongue鈥� is the title of the group exhibition on the first floor. Here, Athenian curator Caterina Stamou has invited 10 young Greek artists whose works engage in a different and reciprocal relationship with the sea, thereby visualising new affective, material and cultural gestures. An exciting new project in which gramma_epsilon exhibits young Greek artists for the first time, this show opens up new ways of perceiving differences and elements of contact, and receiving suggestions and critical issues within this 鈥渟hort space鈥� that Jean Grenier suggests to us.
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