Exhibition duration: 30.9.2017 – 14.1.2018
Locations: State Museum of Contemporary Art at Moni Lazariston, Thessaloniki Contemporary Art Center – Warehouse B1 – Thessaloniki port, Macedonian Museum of Contemporary Art Agioritiki Estia/ Mount Athos Center
Participating artists: Giorgos Alexandridis, Babis Alexiadis, Halil Altindere, Einat Amir, Arushee, Oreet Ashery, Younes Baba-Ali, Ino Varvariti, Babis Venetopoulos, Loukas Venetoulias, Eva Borner, Ascan Breuer, James Βridle, Myriam Chaieb, Bo Choy, Raffaella Crispino, Sophie Dubosc, Ahmet Elhan, Alessandra Eramo, Dimitris Fragakis, Alicia Framis, Alexander Glandien, Dylan Graham, Chaja Hertog & Nir Nadler, Paolo Incarnato, Dzamil Kamanger & Kalle Hamm, Reysi Kamhi, Akis Karanos, Fotini Kariotaki, Norayr Kasper, Sharlene Khan, Peggy Kliafa, Gustav Klucis, Panos Kombis, Mikko Kuorinki, El Lizzitzky, Sotiris Lioukras, Andreas Lolis, Orly Maiberg, Kazimir Malevich, Panos Matthaiou, Oleg Mavrommati & Boryana Rossa, Agnes Meyer-Brandis, Vladimir Miladinović, Sherry Millner & Ernie Larsen, Dora Belegrinou, Natassa Biza, Alkis Boutlis, Marina Naprushkina, Kristian Nemeth, Pavlos Nikolakopoulos, Nefeli Papadimouli, Eva Papamargariti, Fotini Papahatzi, Kostas Pappas, Kosmas Pavlidis, Martha Rosler, Deniz Sağdıç, Mark Salvatus, Xenis Sachinis, Sermin Sherif, Walter Solon, Efi Spyrou, Tatiana Stadnichenko, Stefania Strouza, Konstandinos Taliotis, Dimitris Tataris, The Kingdoms of Elgaland-Vargaland, Andigoni Tsagaropoulou, Giorgos Tserionis, Stefanos Tsivopoulos, Andri Tsiouti – Michalis Charalambous – Giorgos Stylianou – Stefanos Papadas, Mona Vatamanu & Florin Tudor, Marian Wijnvoord, Dionissis Christofilogiannis, Arseny Zhilyaev.
Peggy Kliafa participates with the installation:
Untitled, 2016, 247 x 160 x 135 cm
Peggy Kliafa’s installation is part of a unit of independent works the artist has worked on over the course of a long period and in several variations. Kliafa utilizes empty pharmaceutical packaging to create constructions than revolve around emblematic motifs (such as rosettes and spirals) and techniques of Western art and, more specifically, Gothic cathedral architecture, predominantly that of stained glass.
The used packages are transformed into impressive, elaborate compositions, thanks to the decisive intervention of artificial, pure and warm light, which passes through their transparent texture. The compositions define holy, transcendental spaces, where one can be isolated, connect to the remotest sides of oneself, and communicate with the divine. The imaginative replacement of overpainted glass with empty pill packages -daily objects that are linked with controversial effects on human life with medication inextricably associated with prescription drug abuse- results in the transformation of the contents of the plastic packaging into the deified and dominant material of an imaginary refuge and a core element of people’s fate.
From the Exhibition’s Catalogue
6th Thessaloniki Biennale of Contemporary Art 2017
Read more here http://biennale6.thessalonikibiennale.gr