Organized on the occasion of the eighteenth anniversary of the DESTE Prize, the show titled DESTE Prize: An Anniversary Exhibition, 1999-2015 showcases works by the nine recipients of the prize from 1999 to 2015 together for the first time.
Looking back at the history of the prize and offering a survey of recent artist production, DESTE Prize: An Anniversary Exhibition, 1999-2015 will open at the Museum of Cycladic Art, Athens on April 5, 2017 and will run through September 17, 2017. This collaboration between the DESTE Foundation and the Museum of Cycladic Art forms part of the latter’s “Young Views” program that aims to engage a younger audience, bring the public up-to-date with developments in contemporary cultural production, and provide a dynamic platform for the exchange of ideas on contemporary artistic creation.
Established in 1999, the DESTE Prize is awarded biennially to a Greek or Cypriot artist living in Greece or abroad. The prize aims to showcase an emerging generation of artists and is integral to the foundation’s policy of supporting and promoting contemporary art.
The artists participating in the exhibition are: Loukia Alavanou, Anastasia Douka, Eirene Efstathiou, Christodoulos Panayiotou, Maria Papadimitriou, Angelo Plessas, Georgia Sagri, Kostas Sahpazis, and Panayota Tzamourani.
Composed of “collaged” fragments from found cinematic sources interwoven with her own film sequences, the research-based moving-image works and installations of Loukia Alavanou (DESTE Prize 2007) are an exploration of the influence of film on the formation and structuring of memory. A layered soundtrack is used as a unifier, simultaneously creating flow between the disparate images and a Brechtian Verfremdungseffekt. Having grown up in a communist context in the transitional years of post- dictatorship Greece, Alavanou embraces post-synchronization in cinema as a vehicle of parodying propaganda, exaggerating contradictions, and exploiting the “Real” and the “making-strange.”
The work of Anastasia Douka (DESTE Prize 2011) is in search of an object’s/body’s consciousness as this moves and progresses through space and time. The artist cuts down time into smaller fractions of exhaustion and stretches out its skin into space like paper on a line. In parallel, she translates languages in order to comprehend locations and recognizes that materials have the capacity to mirror her own incompetence and abilities. Douka desires to be a conductor between reciprocal, successive, and antithetic stances of the object/body as shaped by class structures, anatomical identities, and architectural restrictions.