Manolis D. Lemos
b. Athens, Greece, 1989

  • Selected Exhibitions

  • 2020
    New Landscapes, galeria Duarte Sequeira, Portugal, dusk and dawn look just the same, PiK, Cologne, ALL AS ONE, ARCH Athens (Serapis), ALL AS ONE, 14 RUE notre Dame de Nazareth, Paris (Serapis), Protext!, Centro Luigi Pecci, Prato (Serapis)
  • 2019
    Feelings, Korinis 4, CAN Christina Androulidaki gallery, Athens, Fallen Empires and Refound Desires, Horst Arts & Music, ASIAT, Brussels, curated by Evelyn Simons, Tomorrows, Le lieu unique, Nantes, Screen Spaces, Het Nieuwe Instituut, Seward Park Edu. Center, NY, curated by Vere Van Gool, Still Here Tomorrow, Stavros Niarchos Foundation Cultural Centre, Athens, Full Moon, FC Hyena, Amsterdam, Liquid Soul, Piraeus Port with RODEO gallery, Piraeus (Serapis), The Port for All, 13 Rue d’ Ormesson, Paris (Serapis), SECCMA Trust, 13 Rue d’ Ormesson, Paris (Serapis)
  • 2018
    Songs for Sabotage, New Museum Triennial, New Museum, New York, USA, curated by Gary Carrion-Murayari and Alex Gartenfeld, TEGEL, TEGEL, Stockholm, curated by Asrin Haidari, Untitled, DECAD, Berlin, Standardized Waters, SECCMA Trust, Athens, Oil Gargles, The Breeder gallery, Athens (Arbit City), In Search of Happiness, The Breeder gallery, Athens (Arbit City), Hands On Your Soul, 12 Rue Notre Dame de Nazareth, Paris (Serapis),
  • 2017
    Tomorrow’s Corporate Love (Forgetting from Athens), Palais de Tokyo, Paris, Prec(ar)ious Collectives, an exhibition of Palais de Tokyo in Athens, Akadimias 23, Athens, A circular perspective, Agisilaou 36, Athens, curated by Hanns Wiessner, The Kiss, L13, Athens (Arbit City)
  • 2016
    The Equilibrists, organized by the New Museum, New York and the DESTE Foundation Athens in collaboration at the Benaki Museum, Athens, Curated by Gary Carrion-Murayari and Helga Christophersen with Massimiliano Gioni
  • 2015
    Crooked Grid Crude Carrier, CAN Christina Androulidaki Gallery, Athens
  • 2013
    Feral Remnants/Oinousses, CAN Christina Androulidaki Gallery, Athens

Feelings (Columns)

2019, galvanised steel, marble, dimensions variable, modular arrangement

Feelings

2019, HD Video, sound, 8min 30sec, loop music by Bill Kouligas

Text by Evelyn Simons

 

Manolis D. Lemos works like a storyteller, infusing disparate cultural references in his various artistic output which includes visual art, video, music (with his Athens-based band Ori) and fashion. D. Lemos has the unique ability to convey richness through the evocation of absence. The protagonists of his videos rarely appear as clearly defined individuals, but remain in the abstract realm – rendering them archetypical, and allegorical in a way. These videos engage in scenographies that further seduce the senses, to amplify their enigmatic, under-the-skin effect on the viewer. His work mixes an uncanny contemporary Zeitgeist with mythical narratives, often referencing the current socio-economic reality of Greece, as well as its archeological heritage.


Feelings unravels different settings in which various forces are at play. The female protagonist, rarely shown, is fleeing an abandoned setting, as if she is chased.The atmosphere in which she roams, seems devoid of time and space – as if to negate classification and origin, as if to draw on the inward feeling of experiencing being human. In parallel, we see a clinical setting with technological apparatuses – protected, as if to prioritise its fate. These juxtaposing sensations are intertwined with violently splashing water, from the river Alpheios in the Peloponnese – the longest and one of the most mythical ones in Greece.


The musical score for Feelings was made by Bill Kouligas, based on the song Medieval by ORI (with vocals by Manolis D. Lemos). The video features Krini Dimopoulou. 

 

 

 

SPURT

2019, 64pages hardcover, silverprint, book with Corian pedestal, 30 x 30 x 82cm, unique

Stray Horizons, Future Landscapes
(Two Spirits)

2019, oil, wax and acrylic on linen, aluminum stretchers, 209 x 178cm

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book. 

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory. 

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity. 

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions. 

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Stray Horizons, Future Landscapes
(The Path to the Sea at Night)

2019, oil, wax and acrylic on linen, aluminum stretchers, 245 x 178cm

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Feelings

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Feelings

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Feelings

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Feelings (Columns)

2019, galvanised steel, marble, dimensions variable, modular arrangement

Feelings (Curve 1)

2019, galvanised steel, 337 x 151 x 128cm

Feelings

2019, HD Video, sound, 8min 30sec, loop music by Bill Kouligas

Text by Evelyn Simons

 

Manolis D. Lemos works like a storyteller, infusing disparate cultural references in his various artistic output which includes visual art, video, music (with his Athens-based band Ori) and fashion. D. Lemos has the unique ability to convey richness through the evocation of absence. The protagonists of his videos rarely appear as clearly defined individuals, but remain in the abstract realm – rendering them archetypical, and allegorical in a way. These videos engage in scenographies that further seduce the senses, to amplify their enigmatic, under-the-skin effect on the viewer. His work mixes an uncanny contemporary Zeitgeist with mythical narratives, often referencing the current socio-economic reality of Greece, as well as its archeological heritage.

Feelings unravels different settings in which various forces are at play. The female protagonist, rarely shown, is fleeing an abandoned setting, as if she is chased.The atmosphere in which she roams, seems devoid of time and space – as if to negate classification and origin, as if to draw on the inward feeling of experiencing being human. In parallel, we see a clinical setting with technological apparatuses – protected, as if to prioritise its fate. These juxtaposing sensations are intertwined with violently splashing water, from the river Alpheios in the Peloponnese – the longest and one of the most mythical ones in Greece.

The musical score for Feelings was made by Bill Kouligas, based on the song Medieval by ORI (with vocals by Manolis D. Lemos). The video features Krini Dimopoulou. 

 

 

 

GEN1

2019, archival pigment print on cotton paper, wooden frame, UV glass, 32 x 32cm

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

GEN2

2019, archival pigment print on cotton paper, wooden frame, UV glass, 32 x 32cm

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

GEN3

2019, archival pigment print on cotton paper, wooden frame, UV glass, 32 x 32cm

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Stray Horizons, Future Landscapes (Winged Spirit)

2019, oil, wax and acrylic on linen, aluminum stretchers, 129 x 94cm

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory.

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to “learn” his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’s associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis’ words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape’.

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled “Feelings”, which typically involve authenticity.

One might say that Manolis’s work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: “Who’s responsible for anything,” she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’s work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Stray Horizons, Future Landscapes
(The Road to the Light)

2019, oil, wax and acrylic on linen, aluminum, 69 x 93cm

Feelings is a solo exhibition by Manolis D. Lemos presented in June-September 2019 at Korinis 4, Athens, which includes a series of paintings, sculptures, photographs, a video and a book.

 

Through a continuous and ongoing production process that the artist developed in collaboration with Constantinos Daskalakis, his research team at MIT and a Deep Neural Network, the works are made with the help of an artificial intelligence and through an abstracted, quite esoteric narrative approach that attempts to blur the clarity of concepts such as authorship, poetic gesture, moral responsibility and emotional expression, while continuously reflecting upon and envisioning the future.

 

 

Text by Alex Gartenfeld, artistic director, ICA Miami:

 

Over the phone, Manolis tells me that most of the show is part of an ongoing process using Deep

Learning, the broad field of research by which non-sentient create systems like neural networks. It creates for inputted data a broad range of potentially affective responses through proliferating rules, and can feature various degrees of actual human supervision.

With no explanation, Manolis sent me the Wikipedia entry for Constantinos Daskalakis. I ask him if this is a relation.

Constantinos is a professor at MIT’s Electrical Engineering and Computer Science department and a member of the MIT Computer Science and Artificial Intelligence Laboratory. 

 

Formally, this show began with Manolis creating about 1000 rudimentary drawings, in an idiosyncratic abstract manner that at times suggests landscape. Constantinos and his research team produced and used two deep learning algorithms that sought to ‘learn’ his cousin’s way of drawing; and then create statistically likely landscapes evocative of Manolis’ associations of images to feelings.

The paintings themselves are monochromes with drawn lines that appear to have been scratched, or applied with pressure and speed. More in a lyrical primitive way than in a violent way, and perhaps in a mode that suggests casual damage or erasure. Their connecting title is Stray Horizons, Future Landscapes and in each work one can notice a horizon line that has been displaced. In Manolis words, ‘silver has always been the color of imagining the future, whereas brown is like the insides of the earth’, and ‘if there’s a horizon line it’s a landscape.’

 

The exhibition also includes sculptures that interpret samples of diagram lines as netted galvanized steel, in curved fence-like forms, or in the form of columns from different charts, partially filled with Greek pink marble rubble.

The exhibition is titled ‘Feelings’, which typically involve authenticity.

One might say that Manolis’ work today has used observations on social transformation (and their spectral possibilities) to parody or critique the potential to achieve this same authenticity.

The painting works rehearse a history of avant-garde gestural and conceptual modes of treating canvas, and the ideological positions of each. They look above and below these suggestions.

An examination of the non-human relies upon a definition of the human, which Manolis has displaced from feeling to citizenship. Or, obligations to sentience; or recognition of others.

 

As a starting point of the exhibition Manolis has included a book-sculpture glibly titled Spurt, and as an ending point a new video work that relates to the book’s short story.

The book begins: ‘Who is responsible for anything?’, she wondered as she gazed at the screen on her desk. Responsibility is motherless, it doesn’t belong to anyone. She anticipated what was about to happen, but she didn’t want to overthink it. The world knows.

 

Manolis’ work to date has involved social transformations that have given over to style, a process that is writ large on this most recent project. It is difficult to find traditional sources of critique in this work, because the humanist values that informed them are giving way, breaking into systems that are as big as they are small.

 

 

* With special thanks to Nikos Dimopoulos, Constantinos Daskalakis & the MIT Computer Science and Artificial Intelligence Laboratory, Krini Dimopoulou, Bill Kouligas, Andreas Melas and Andrew Spyrou.

Feelings
(After the Beach Run Dream)

2019, archival pigment print on cotton paper, wooden frame, UV glass, 51 x 82cm

We Used To Care
(Cosmic Dust) No2

2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed

This series of works is comprised of scanner generated photographic images from a collection of marble remnants from demonstrations in Athens.

 

Over the years and since 2008, Manolis D. Lemos has been collecting many stones, most of which are from Syntagma square and the area around it.

Especially in 2011 this collection expanded a lot.

 

The marble pieces mostly belong to pavements and stairs, but also to walls and columns of buildings. They are commonly violently smashed during police conflicts by black block members using a large hammer, then thrown to the police and eventually broken in smaller pieces when they reach the street asphalt.

After the big riots of 2011, and since the election of the current government, demonstrations of large scale and tension have started to fade away in Greece, giving way to a feeling and atmosphere of numbness and depression.

Yet the image of Athens as riot city is obviously well maintained, being somewhat commodified, so this work is also slightly ironic to that direction, playing with this idea in two levels.

 

These stones that the artist was keeping now feel more like romantic remnants of a more bold and audacious past of Athens, or things reminiscent of this pre-depression youth period of the city.

Marble is what Athens is made of.

We Used To Care
(Cosmic Dust) No3

2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed

This series of works is comprised of scanner generated photographic images from a collection of marble remnants from demonstrations in Athens.

 

Over the years and since 2008, Manolis D. Lemos has been collecting many stones, most of which are from Syntagma square and the area around it.

Especially in 2011 this collection expanded a lot.

 

The marble pieces mostly belong to pavements and stairs, but also to walls and columns of buildings. They are commonly violently smashed during police conflicts by black block members using a large hammer, then thrown to the police and eventually broken in smaller pieces when they reach the street asphalt.

After the big riots of 2011, and since the election of the current government, demonstrations of large scale and tension have started to fade away in Greece, giving way to a feeling and atmosphere of numbness and depression.

Yet the image of Athens as riot city is obviously well maintained, being somewhat commodified, so this work is also slightly ironic to that direction, playing with this idea in two levels.

 

These stones that the artist was keeping now feel more like romantic remnants of a more bold and audacious past of Athens, or things reminiscent of this pre-depression youth period of the city.

Marble is what Athens is made of.

We Used To Care
(Scarred)

2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed

This series of works is comprised of scanner generated photographic images from a collection of marble remnants from demonstrations in Athens.

 

Over the years and since 2008, Manolis D. Lemos has been collecting many stones, most of which are from Syntagma square and the area around it.

Especially in 2011 this collection expanded a lot.

 

The marble pieces mostly belong to pavements and stairs, but also to walls and columns of buildings. They are commonly violently smashed during police conflicts by black block members using a large hammer, then thrown to the police and eventually broken in smaller pieces when they reach the street asphalt.

After the big riots of 2011, and since the election of the current government, demonstrations of large scale and tension have started to fade away in Greece, giving way to a feeling and atmosphere of numbness and depression.

Yet the image of Athens as riot city is obviously well maintained, being somewhat commodified, so this work is also slightly ironic to that direction, playing with this idea in two levels.

 

These stones that the artist was keeping now feel more like romantic remnants of a more bold and audacious past of Athens, or things reminiscent of this pre-depression youth period of the city.

Marble is what Athens is made of.

dusk and dawn look just the same
(riot tourism)

HD video, sound, 3min loop, music by Julien Perez, commissioned by Pavillon Neuflize OBC, for the occasion of Prec(ar)ious collectives, a group show of Palais de Tokyo at Akadimias 23, Athens

The video includes 24 people who wear the same spray painted raincoats that the artist painted.

The painting is an abstract depiction of a sunset or sunrise landscape.

The crowd is running on Athinas street, in the very center of Athens, heading to Omonoia square, where the video ends, fading to white.

The music score was designed by Julien Perez and D. Lemos, and it is an ambient dreamy soundscape based on a Greek rebetiko song named ‘To μινόρε της αυγής’ (‘to minore tis avgis’, which means ‘the minor of dawn’).

Though abstract and esoteric, the work links to symbols like dusk and dawn, rising, falling, the horizon, riot, community, exoticization, Athens and Greece.

 

The video was included in the 2018 New Museum Triennial ‘Songs for Sabotage’, curated by Gary Carrion-Murayari and Alex Gartenfeld.

dusk and dawn look just the same (riot tourism)

installation view at 'Songs for Sabotage', the New Museum Triennial, 2018

The video includes 24 people who wear the same spray painted raincoats that the artist painted.

The painting is an abstract depiction of a sunset or sunrise landscape.

The crowd is running on Athinas street, in the very center of Athens, heading to Omonoia square, where the video ends, fading to white.

The music score was designed by Julien Perez and D. Lemos, and it is an ambient dreamy soundscape based on a Greek rebetiko song named ‘To μινόρε της αυγής’ (‘to minore tis avgis’, which means ‘the minor of dawn’).

Though abstract and esoteric, the work links to symbols like dusk and dawn, rising, falling, the horizon, riot, community, exoticization, Athens and Greece.

 

The video was included in the 2018 New Museum Triennial ‘Songs for Sabotage’, curated by Gary Carrion-Murayari and Alex Gartenfeld.

Liquid Dreams
(Spring in Greece) No1

2017, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed

Liquid Dreams (Spring in Greece) is a series of inkjet prints of scanned flowers from the Greek countryside, sourced from the region of Peloponnese.

These are flowers that typically grow in the area, wild flowers from the Greek flora. More or less zoomed, the scans reveal details from the flower textures as they are distorted. There is no digital distortion in the images, but only the one caused by the choreography of the hand that moves the scanned flowers.

Liquid Dreams
(Spring in Greece) No2

2017, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed

Liquid Dreams (Spring in Greece) is a series of inkjet prints of scanned flowers from the Greek countryside, sourced from the region of Peloponnese. 

These are flowers that typically grow in the area, wild flowers from the Greek flora. More or less zoomed, the scans reveal details from the flower textures as they are distorted. There is no digital distortion in the images, but only the one caused by the choreography of the hand that moves the scanned flowers.

Liquid Dreams
(Spring in Greece) No3

2017, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed

Liquid Dreams (Spring in Greece) is a series of inkjet prints of scanned flowers from the Greek countryside, sourced from the region of Peloponnese.

These are flowers that typically grow in the area, wild flowers from the Greek flora. More or less zoomed, the scans reveal details from the flower textures as they are distorted. There is no digital distortion in the images, but only the one caused by the choreography of the hand that moves the scanned flowers.

Gold

2018, archival pigment print on cotton paper mounted on dibond, 178 x 129cm framed

Feral Remnants
(Dog)

2017, oil and water in iron tank, HD video with sound, 4’13’’ loop, dimensions variable. The project was commissioned by the Onassis Cultural Center on the occasion of the exhibition Tomorrows, 2017.

Feral Remnants (Dog) is a multimedia installation consisting of a metal tank filled with black oil and an HD video with an original music score.

The video is a dreamy projection onto some future where a dog of the Samoyed breed is shot wandering in an empty industrial environment in slow motion.

The musical score (Medieval, 2016) is composed by Ori, the artist’s rock trio, with vocals by D. Lemos.

 

No human is to be seen.

 

The dog is reversely projected onto the wall screen, and distortedly reflected on the

oil, trembling according to the bass sequences of the music.

Tomorrow’s Corporate Love
(Forgetting from Athens)

2017, oil & water in iron tank, soil, lavender essential oil, dimensions variable, video, 3’ loop and performance

Tomorrow’s Corporate Love (Forgetting from Athens) is a show and a performance of Manolis D.
Lemos in Palais de Tokyo, Paris, in February 2017. The happening of the opening night included a
sculptural video installation, a perfume, a tag on a museum wall, a text reading by Fabien Danesi
and a musical performance of Ori, the artist’s band.

 

The floor sculpture is a water and oil mirror which follows the exact reflection of the video
projection on the floor from a specific point of view. It is surrounded by Greek soil, infused with
Greek lavender essential oil.

 

The video is a dreamy sequence depicting a dog of the Mastino Napoletano breed, wandering
all alone on a Greek beach, with no humans or human built elements in sight.

 

The tag on the wall reads ‘Tomorrow’s Corporate Love’ in greek.

 

The performance introduction was a text reading by Fabien Danesi, accompanied by a bass
guitar improvisation. The text was an excerpt from Donna Haraway’s book Staying the Trouble.
Making Kin in the Chthulucene, Duke University press, 2016, translated in French.
The text reading was followed by a 25 minute performance of an original music composition of
Ori. The bass sequences of the music made the liquid surface of the sculpture vibrate,
distorting the reflection of the video.

Tomorrow’s Corporate Love
(Forgetting from Athens)

2017, oil & water in iron tank, soil, lavender essential oil, dimensions variable and video, 3’ loop

Tomorrow’s Corporate Love (Forgetting from Athens) is a show and a performance of Manolis D.
Lemos in Palais de Tokyo, Paris, in February 2017. The happening of the opening night included a
sculptural video installation, a perfume, a tag on a museum wall, a text reading by Fabien Danesi
and a musical performance of Ori, the artist’s band.

 

The floor sculpture is a water and oil mirror which follows the exact reflection of the video
projection on the floor from a specific point of view. It is surrounded by Greek soil, infused with
Greek lavender essential oil.

 

The video is a dreamy sequence depicting a dog of the Mastino Napoletano breed, wandering
all alone on a Greek beach, with no humans or human built elements in sight.

 

The tag on the wall reads ‘Tomorrow’s Corporate Love’ in greek.

 

The performance introduction was a text reading by Fabien Danesi, accompanied by a bass
guitar improvisation. The text was an excerpt from Donna Haraway’s book Staying the Trouble.
Making Kin in the Chthulucene, Duke University press, 2016, translated in French.
The text reading was followed by a 25 minute performance of an original music composition of
Ori. The bass sequences of the music made the liquid surface of the sculpture vibrate,
distorting the reflection of the video.

Tomorrow’s Corporate Love
(Forgetting from Athens)

2017, oil & water in iron tank, soil, lavender essential oil, dimensions variable and video, 3’ loop

Tomorrow’s Corporate Love (Forgetting from Athens) is a show and a performance of Manolis D.
Lemos in Palais de Tokyo, Paris, in February 2017. The happening of the opening night included a
sculptural video installation, a perfume, a tag on a museum wall, a text reading by Fabien Danesi
and a musical performance of Ori, the artist’s band.

 

The floor sculpture is a water and oil mirror which follows the exact reflection of the video
projection on the floor from a specific point of view. It is surrounded by Greek soil, infused with
Greek lavender essential oil.

 

The video is a dreamy sequence depicting a dog of the Mastino Napoletano breed, wandering
all alone on a Greek beach, with no humans or human built elements in sight.

 

The tag on the wall reads ‘Tomorrow’s Corporate Love’ in greek.

 

The performance introduction was a text reading by Fabien Danesi, accompanied by a bass
guitar improvisation. The text was an excerpt from Donna Haraway’s book Staying the Trouble.
Making Kin in the Chthulucene, Duke University press, 2016, translated in French.
The text reading was followed by a 25 minute performance of an original music composition of
Ori. The bass sequences of the music made the liquid surface of the sculpture vibrate,
distorting the reflection of the video.

Tomorrow’s Corporate Love
(Forgetting from Athens)

2017, oil & water in iron tank, soil, lavender essential oil, dimensions variable and video, 3’ loop

Tomorrow’s Corporate Love (Forgetting from Athens) is a show and a performance of Manolis D.
Lemos in Palais de Tokyo, Paris, in February 2017. The happening of the opening night included a
sculptural video installation, a perfume, a tag on a museum wall, a text reading by Fabien Danesi
and a musical performance of Ori, the artist’s band.

 

The floor sculpture is a water and oil mirror which follows the exact reflection of the video
projection on the floor from a specific point of view. It is surrounded by Greek soil, infused with
Greek lavender essential oil.

 

The video is a dreamy sequence depicting a dog of the Mastino Napoletano breed, wandering
all alone on a Greek beach, with no humans or human built elements in sight.

 

The tag on the wall reads ‘Tomorrow’s Corporate Love’ in greek.

 

The performance introduction was a text reading by Fabien Danesi, accompanied by a bass
guitar improvisation. The text was an excerpt from Donna Haraway’s book Staying the Trouble.
Making Kin in the Chthulucene, Duke University press, 2016, translated in French.
The text reading was followed by a 25 minute performance of an original music composition of
Ori. The bass sequences of the music made the liquid surface of the sculpture vibrate,
distorting the reflection of the video.

Tomorrow’s Corporate Love
(Forgetting from Athens)

2017, oil & water in iron tank, soil, lavender essential oil, dimensions variable and video, 3’ loop

Tomorrow’s Corporate Love (Forgetting from Athens) is a show and a performance of Manolis D.
Lemos in Palais de Tokyo, Paris, in February 2017. The happening of the opening night included a
sculptural video installation, a perfume, a tag on a museum wall, a text reading by Fabien Danesi
and a musical performance of Ori, the artist’s band.

 

The floor sculpture is a water and oil mirror which follows the exact reflection of the video
projection on the floor from a specific point of view. It is surrounded by Greek soil, infused with
Greek lavender essential oil.

 

The video is a dreamy sequence depicting a dog of the Mastino Napoletano breed, wandering
all alone on a Greek beach, with no humans or human built elements in sight.

 

The tag on the wall reads ‘Tomorrow’s Corporate Love’ in greek.

 

The performance introduction was a text reading by Fabien Danesi, accompanied by a bass
guitar improvisation. The text was an excerpt from Donna Haraway’s book Staying the Trouble.
Making Kin in the Chthulucene, Duke University press, 2016, translated in French.
The text reading was followed by a 25 minute performance of an original music composition of
Ori. The bass sequences of the music made the liquid surface of the sculpture vibrate,
distorting the reflection of the video.

Not Yet Titled
(Oil Spill Fire)

2016, acrylic spray paint on canvas, archival pigment print on cotton paper mounted on dibond and aluminum frame, 128 x 280 cm

Silent Hysteria II

2016, petroleum and water in iron tanks, dimensions variable

Silent Hysteria III

2017, petroleum and water in iron tanks, 177,4 x 177,4 cm