Yiannis Epaminondas

Yiannis Epaminondas born 1960 is settled in Thessaloniki since 1970. He studied architecture at the Aristotle University of Thessaloniki and worked for 25 years as a free lance architect and exhibition curator. Since 2010 he runs the Thessaloniki Centre of the Cultural Foundation of the National Bank of Greece where he has curated significant exhibitions: The Westering Orient (about Ottoman postcards of Thessaloniki), Thessaloniki 1863-1873 (about the oldest Thessaloniki photos and maps of the Oriental Railroads company) and The Dusk of Our Old City, Thessaloniki 1870-1917 (about the evolution of the city prior to the great fire). He is currently studying on a master’s on History at the Aristotle University.

Dimitris Stamatopoulos

Dimitris Stamatopoulos is Professor in Balkan and Late Ottoman History at the University of Macedonia, Thessaloniki. Member of the Institute for Advanced Study in Princeton, visiting professor at the École des hautes études en sciences sociales (Paris), Princeton University and the Institute of European History in Mainz Stamatopoulos is the author of many books and articles on the history of the Orthodox Christian populations in the Ottoman Empire. A revised version of his book Byzantium after the Nation: the problem of the national continuity in the Balkan historiographies, (Athens: Alexandreia Publications 2009) will be published in English by Central European University Press. He has edited also the following collective volumes: Balkan nationalism(s) and Ottoman Empire, vol.3, Istanbul: Isis Press 2015. European Revolutions and the Ottoman Balkans: War, Nationalism and Empire from Napoleon to the Bolsheviks, London: I.B. Tauris 2018, Balkan Empires: imperial imagined communities in Southeastern Europe (18th-20th c.), Central European University Press (forthcoming).

Alexander van der Haven

Alexander van der Haven (Ph.D. History of Religions, University of Chicago Divinity School, 2009) is Postdoctoral Fellow at the Israeli Centers for Research Excellent (I-CORE), Center for the Study of Conversion and Inter-religious Encounters at Ben-Gurion University of the Negev and the Open University of Israel, Adjunct Lecturer of General Studies at the Interdisciplinary Center Herzliya, and Full Adjunct Professor at Webster University St. Louis. Of relevance to the themes of this project, he has written the book From Lowly Metaphor to Divine Flesh: Sarah the Ashkenazi, Sabbatai Tsevi’s Messianic Queen and the Sabbatian Movement (2012), and an article on the Jerusalem Syndrome (2008). His recent publications are about madness, religion, and modernity in relation to the religious experiences of psychiatric patient Daniel Paul Schreber (1842-1911), and about conversion to Judaism in the early modern Dutch Republic in the context of early modern inter-religious relations.

Juan Pérez Agirregoikoa

Lives and works between París and San Sebastian. His work is concerned with the ability of visual and written language to challenge those who come into contact with it, questioning what types of subject we are, or allow ourselves to be.

His drawings, publications, banners and films have been shown in exhibitions such as 2017 “treinta y ocho de Julio treinta y siete de Octubre ”(38th July, 37th October), Museo Artium. Gazteiz. “there is an enemy” for the friends of Guggenheim museum. Museo Guggenheim Bilbao. 2016 Punk: sus rastros en el arte contemporáneo, MACBA, Barcelona. Saturday. Sunday, Saturday. Carreras Mugica, Bilbao. 2015 Jakarta Biennale 2015, Jakarta. 2014 Culture is what is done to us, Clages, Koln (Germany). How to (…) things that don’t exist, 31st Bienal de Sao Paulo. 2012 Do you want a master? You will have it!, Museo Reina Sofía, Madrid. 2008 Klankeffecten # 5: Juan Pérez Agirregoikoa, MUHKA, Anterwp 2007 Chacun à son goût, Museo Guggenheim de Bilbao, Bilbao. Bienal de Lyon, Lyon, Francia. 2005 Populism, Nordic Institute of Contemporary Art, Contemporary Art Centre in Vilnius, Lituania Stedelijk Museum, Amsterdam, Frankfurter Kunstverein, Frankfurt.

Köken Ergun

Köken Ergun is a Turkish artist working in film and installation. His films often deal with communities that are not known to a greater public and the importance of ritual in such groups. Ergun usually spends long time with his subjects before starting to shoot and engages in a long research period for his projects. He also collaborates with ethnographers, historians and sociologists for publications and lecture series as extensions to his artistic practice.

Having studied acting at the İstanbul University, Ergun completed his postgraduate diploma degree in Ancient Greek Literature at King’s College London, followed by an MA degree on Art History at the Bilgi University. After working with American theatre director Robert Wilson, Ergun became involved with video and film. His multi-channel video installations have been exhibited internationally at institutions including Documenta 14, Palais de Tokyo, SALT, Garage MCA, Stedelijk Museum Bureau Amsterdam, Protocinema, KIASMA, Digital ArtLab Tel Aviv, Casino Luxembourg, Para-Site and Kunsthalle Winterthur. His films received several awards at film festivals including the “Tiger Award for Short Film” at the 2007 Rotterdam Film Festival and the “Special Mention Prize” at the 2013 Berlinale. Ergun’s works are included in public collections such as the Centre Pompidou, EMST, Stadtmuseum Berlin and Kadist Foundation.

Website | Index of Works
Webesite | After the Archive

Photo by A. Donnikov © Garage Museum of Contemporary Art, Moscow

Danielle Riou

Danielle Riou is the Associate Director of the Human Rights Project, where she co-curates the HRP’s public programs, organizes special projects and partnerships, and oversees the student internship program. She is co-creator of the Milosevic Trial Public Archive, the complete on-demand video archive of former Serbian president Slobodan Milosevic in the Hague, Netherlands. She has presented at conferences and panels on new media, the archive and memory.  She has also translated edited volumes for L’Institut du Proche Orient (Beirut/Brussels.) Her current project is centered around explorations of sound and human rights, and she is currently producing a human rights radio show for broadcast on Bard’s regional NPR affiliate. Broader research interests include humor and trauma, theorizing gender within global development movements, and media theory and human rights.

Oreet Ashery

Oreet Ashery is a transdisciplinary visual artist and an educator working with political/bio-fiction, gender materiality and potential communities, in local and international contexts. Ashery’s influential practice manifest through distinct multiplatform projects and spans live situations and performances, moving and still image, writing and assemblages. The work turns to areas such as music, costume, workshops and activism.

Ashery’s recent work, for which she won the Film London Jarman Award 2017, is an artist web-series titled Revisiting Genesis on digital death, memory as identity and feminist art reincarnations, http://revisitinggenesis.net.

Recent large-scale works have included Revisiting Genesis, solo exhibitions at ICA fig-2, 2015, Stanley Picker Gallery 2016, Tyneside Cinema 2016, Thessaloniki Biennale, 2017. The World is Flooding, A Tate Modern Turbine Hall performance project 2014 and Party for Freedom, an Artangel commission 2013.

Ashery is an Associate Professor of Fine Art at the Ruskin School of Art, University of Oxford.

Yael Bartana

Yael Bartana’s films, installations and photographs explore the imagery of identity and the politics of memory. Her starting point is the national consciousness propagated by her native country, Israel. Central to the work are meanings implied by terms like “homeland”, “return” and “belonging”. Bartana investigates these through the ceremonies, public rituals and social diversions that are intended to reaffirm the collective identity of the nation state.

In her Israeli projects, Bartana dealt with the impact of war, military rituals and a sense of threat on every-day life. Between 2006 and 2011, she has been working in Poland, creating the trilogy ‘And Europe Will Be Stunned’, a project on the history of Polish-Jewish relations and its influence on the contemporary Polish identity. The trilogy represented Poland in the 54th International Art Exhibition in Venice (2011).

In recent years Bartana has been experimenting and expanding her work within the cinematic world, presenting projects such as ‘Inferno’ (2013), a “pre-enactment” of the destruction of the Third Temple, ‘True Finn’ (2014), that came into being within the framework of the IHME Festival in Finland, and ‘Pardes’ (2015) which was shot during a spiritual journey in the Amazon rainforest in Brazil. Her latest work, ‘Tashlikh’ (cast-off), is a visual performance that gathers personal objects linked to horrors of the past and the present.

Yael Davids

Yael Davids examines the capacities in which the body operates as a documentary vessel: as much a registry of the present, intrinsically connected to collective heritage and political narratives, as it is a receptacle in which a private biography is compacted and a finite, unique voice is contoured. By orchestrating an associative constellation of performative, sculptural, and archival elements, framed in the form of choreographic assemblages.

In her recent presentation at Documenta 14 (Kassel/Athens), Davids excavates the prospect for establishing a dimension in which voices that have been historically marginalised or otherwise sealed may emerge. This manifested a research into the legacies surrounding four females figures who had in their respective eras found themselves subject to displacement, either literally or in a more socio-intellectual capacity, namely: Else Lasker-Schüler, Rachel Varnhagen, Cornelia Gurlitt, and Julia Aquila Severa. Fundamental to the research is the urgency to exert a practice of finely-tuned receptiveness, formulating a deeper understanding of the nuances of each of these women and the connections to be made between them, traversing a vast cultural and chronological span.

Davids is the first candidate for the new research trajectory Creator Doctus, initiated by Gerrit Rietveld Academy (Amsterdam) in collaboration with The Van Abbe Museum (Eindhoven). Inspired by the work of Dr Moshé Feldenkrais, whose methodology seeks to cultivate acute bodily and mental awareness, Davids deploys weekly Feldenkrais sessions as a meditation on the potential for an institution to exert a refined, heightened sense of listening towards its inner-workings, its collection, and its transactions with artists and the public. With each session taking place on the floor and with all members of the institution invited to participate, these sessions operate as an exercise in horizontality, unity and democracy

Nataša Ilić

Nataša Ilić (b.in Zagreb) is a free-lance curator, a member of the curators collective What,How&for Whom (WHW), a non-profit organization for visual culture, formed in 1999 and based in Zagreb and Berlin. Other members of WHW are curators Ivet Ćurlin, Ana Dević, and Sabina Sabolović, and designer and publicist Dejan Kršić. WHW activities explore the potentials of critical curatorial practice capable of generating innovative models of representation and self-organization within the realm of contemporary art.

Since 2003 WHW has been directing the program of city-owned Gallery Novain Zagreb. WHW is the first recipient of Igor Zabel Award for Culture and Theory, awarded by the Arts and Civil Society Program of Erste Bank Group in Central Europe, in recognition of cultural activities related to the Central and South Eastern European region.