Eleni Kamma participe au festival Indiscipline, consacré à la scène artistique bruxelloise, au Palais de Tokyo à Paris.
Ce festival, court mais intense se déroule du 03/09/2016 au 04/09/2016, de midi à minuit.

Bruxelles, capitale multiple et interdisciplinaire, se révèle au Palais de Tokyo. Le temps d’un week-end, les 3 et 4 septembre 2016, plus de 30 artistes, plasticiens, performeurs, chorégraphes et vidéastes installés à Bruxelles sont invités au Palais de Tokyo, par l’entremise et les choix curatoriaux du WIELS – centre d’art contemporain, du Kunstenfestivaldesarts – le festival des arts de la scène – et de l’agence Wallonie-Bruxelles Théâtre/Danse. Issus d’une quinzaine de pays différents, ces créateurs présentent des travaux à la croisée de diverses disciplines et qui bousculent certaines de nos frontières symboliques, physiques, culturelles ou linguistiques.
En l’espace de quelques années, Bruxelles s’est imposée comme une plate-forme internationale dédiée à l’émergence artistique et à l’expérimentation. Des créateurs du monde entier y affluent pour trouver un terreau propice à l’expression de leurs singularités. Caractérisée par ses prises de risque artistique, la scène locale ne semble régie par aucun dénominateur commun, si ce n’est sa nature indisciplinée et le parti pris de l’interdisciplinarité.

Au programme :

Conférences performatives
Danai Anesiadou, Koenraad Dedobbeleer, Harald Thys & Erik Thys

Films & vidéos
Sanaz Azari, Sammy Baloji & Filip De Boeck, Manon de Boer, Les Soeurs h, Eleni Kamma, Joachim Olender, Benoît Platéus, Louise Vanneste, Emmanuel Van der Auwera

Performances & danse
Jacques André, Léa Drouet & Clément Vercelletto, Mette Edvardsen, Ben Fury & Louise Michel Jackson & Rodolphe Coster, Youness Khoukhou & Pierre Droulers, Leslie Mannès & Sitoïd & Vincent Lemaître, Steven Michel, Hana Miletić, Radouan Mriziga, Ayelen Parolin, Marnie Slater

Performances & installations numériques
Sébastien Lacomblez & l’Entreprise d’Optimisation du Réel, Julien Maire

Projets dans l’espace public
Younes Baba-Ali, Ann Veronica Janssens, Sarah Vanhee

Festival at Palais de Tokyo, Paris
03.09. – 04.09.2016
From noon until midnight
Opening Saturday, September 3rd at 11am
Brussels, the multifaceted and interdisciplinary capital, comes to light at the Palais de Tokyo.
Over the weekend of September 3 & 4, 2016, more than 30 artists, comprising visual artists, performers, choreographers and video makers based in Brussels, will be invited to the Palais de Tokyo by Indiscipline, selected by a curatorial team of WIELS (Brussels’ contemporary art centre) , Kunstenfestivaldesarts (Performing Arts Festival) and the Wallonie-Bruxelles Théâtre/Danse agency. Coming from around 15 different countries, these artists will present works from diverse crossover disciplines, pushing a number of our symbolic, physical, cultural and linguistic boundaries.
Within the space of a few years, Brussels has turned into an international platform dedicated to emerging artists and to artistic experimentation. Artists from all around the world gather there to find a breeding ground in which to showcase their talents. Characterized by their artistic risks, local artists don’t seem to share any common ground, other than their undisciplined nature and their interdisciplinary bias.

Elein Kamma présentera sa récente oeuvre vidéo Yar bana bir eğlence. Notes on Parrhesia

Lors de sa résidence à Istanbul en 2013, l’artiste chypriote grecque basée à Bruxelles Eleni Kamma est témoin des protestations civiles dans le Parc Gezi. Elle est frappée par le parallélisme entre la façon dont l’espace public prend alors une nouvelle forme et le théâtre d’ombres de l’époque ottomane qui met en scène la satire politique. À mi chemin entre le film documentaire et le film d’archives, cette nouvelle œuvre tisse des liens inédits entre deux formes d’indiscipline sociale : un large soulèvement populaire et une forme de folklore ancestrale.

Yar bana bir eğlence. Notes on Parrhesia, 2015, 37’ Réalisation : Eleni Kamma
Montage : Inneke Van Waeyenberghe
Mixage : Laszlo Umbreit
Production : Eleni Kamma
Coproduction : Jubilee et Netwerk Centre d’art contemporain

In her first cinematographic film, artist Eleni Kamma revisits the tradition of the Karagoz Theatre and its role in the creation of a political voice.
Although Karagoz is a local character symbolizing the “little man” within the limits of the Ottoman Empire, he belongs to a larger puppet theatre family. He speaks of what the people want to hear and what the people want to say.Until 1870, despite the “absolute monarchy and a totalitarian regime”, Karagoz “defied the censorship, enjoying an unlimited freedom”. Through the use of empty phrases, the illogical, the surrealistic, extreme obscenity and repetition, Karagoz theatre was often used as a political weapon to criticise local political and social abuse.
By 1923, this multi-voiced empire gave way to a Turkish-speaking republic within which the caricatures of ethnic characters no longer made sense. With the rise of new media, the popularity of Karagoz and Orta Oyunu declined even further.Yar bana bir eğlence. Notes on Parrhesia. reflects upon the term “parrhesia”, which implies not only freedom of speech, but also the obligation to speak the truth for the common good, even at personal risk, by questioning how the notion of entertainment relates to personal expression and public participation.
This is where the artist links to the Gezi Park protests in 2013, in which humor and creativity were key elements in mocking the political regimes. Filmic fragments from National Cypriot television archive alternate with the voices of Cypriot, Greek and Turkish Karagoz masters discussing language, history, the tools and the political role of the medium.The film is a visual essay in which pressing contemporary political matters intertwine with history and abstraction; and in which meticulousness of research meets with poetics of associations. How to move forward? Can we learn something from the old masters? At times the gaze is directed back to the viewer. To speak your mind, you must first overcome fear by taking a deep breath.

Eleni Kamma
Yar bana bir eğlence. Notes on Parrhesia, 2015
videostills

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Eleni Kamma participe à l’exposition Curiosity, organisée par le Tinos Quarry Platform en collaboration avec la Cultural Foundation of Tinos in Chora (Grèce)
02.07.2016 > 31.10.2016

Curiosity is influencing numerous processes. To name a few of them: discovery, innovation, gossiping, research, experimentation and the death of some unfortunate yet certain cats. Curiosity and the invitation by Tinos Quarry Platform arrived at the same time. Tinos is an island I had never been to before. After giving it a second thought, a third, even a forth and so on, curiosity stayed with me.
Curiosity’s effects seem unlimited and rather chaotic to narrow down. Google provides an image of it. Curiosity looks like a vehicle, a rover rolling its wheels on planet Mars. Google doesn’t lie.
Unlike its predecessors looking for specific answers, Curiosity’s mission is to produce a clearer image of Mars by collecting a broad variety of data. In a similar tone the residency and exhibition are developing around curiosity as a vehicle for broader exploration, thus providing the artists with the complete freedom to create their own methods of approach to the theme.
Tinos is to be explored by invited artists, sharing different familiarity levels with the island. Some live abroad, some are Greek, some have been in Greece, some have never visited before, some reside on the island, others visit on an annual basis. Levels of familiarity function for curiosity like different settings on a microscope or a telescope, depending on what one is planning to study.

Curator:
Alexios Papazacharias (Greece)

Eleni Kamma
Regarding that moment when I didn’t speak the truth (although I could).

Between 25 May and 5 June 2016, a series of confessions concerning an experience of personal insincerity took place in Tinos. The artist asked the individuals that confessed to visualize the reason of their insincerity in the manner of a self-portrait. These portraits were realized instantly at the local photographer’s studio in the typical size and format of a passport photo.
Eleven photos framed, 2016

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