Stefana McClure

Poetry-wrapped protest stones, one for each pocket ready to be thrown.

 

No

 

No: a poem by Emily Dickinson, 2 poetry-wrapped stones, left stone: 12.5 x 12.5 x 7.5 cm, right stone: 10 x 12.5 x 5 cm, 2020.

Protest

Protest: a poem by Ella Wheeler Wilcox, 2 poetry-wrapped stones, left stone: 9 x 12.5 x 5 cm, right stone: 10 x 12.5 x 4 cm, 2020.

Riot

Riot: a poem by Gwendolyn Brooks, 2 poetry-wrapped stones, left stone: 10 x 12.5 x 7.5 cm, right stone: 7.5 x 12.5 x 7.5 cm, 2020

Born in Lisburn, Northern Ireland, in 1959, Stefana McClure received her BA from Hornsey College of Art in London and continued her studies at Kyoto Seika University in Japan. She lives and works in New York. Recent solo exhibitions have been held at Josée Bienvenu Gallery, New York (2018); Bartha Contemporary, London (2017); Sleeper, Edinburgh, Scotland (2017); and Arróniz Arte Contemporáneo, Mexico City (2015). McClure has been included in numerous museum exhibitions, most recently Useless: Art Machines for Dreaming, Thinking, and Seeing, curated by Gerardo Mosquera, at The Bronx Museum of the Arts, New York (2019). Her work is included in many public collections including: The Museum of Modern Art, New York, NY; Fogg Art Museum, Harvard University Art Museums, Cambridge, MA; The Museum of Fine Arts, Houston, TX; The Yale University Art Gallery, New Haven, CT; Staatsgalerie Stuttgart, Germany; Museum Folkwang, Essen, Germany; Kunstmuseum Bonn, Germany; and The Machida City International Print Museum, Tokyo, Japan.

Mez Breeze

A Place Called Ormalcy

“A Place Called Ormalcy” is a dystopian fiction comprised of seven short text Chapters combined with embedded 3D tableaus. The work is designed to be viewed on mobile devices and desktop PCs. The story of “A Place Called Ormalcy” unfolds through a series of snapshots of the life of Mr Ormal, a law-abiding citizen who resides in the aesthetically cartoonish world of Ormalcy: Ormalcy exists in an alternative universe complete with its own idiosyncratic language patterns. The world initially presents as Utopian, and full of innocent “claymationesque” contented creatures and happy denizens, but as the story creeps along it becomes apparent that in actuality, this allegorical fiction in fact traces the makings of a disruptive dystopic society, one where citizens are forced to comprehend what can happen when trapped inside their own homes for the sake of their ‘safety’. It illustrates how fascist principles can arise in the most benevolent of places – the story emphasis lies with how nefarious a process this is, and how this disrupts all.

«Ένα μέρος με το όνομα Ανονικότητα» είναι μια δυστοπική μυθοπλασία που αποτελείται από επτά σύντομα κεφάλαια στα οποία έχουν ενσωματωθεί τρισδιάστατα tableaus. Το έργο είναι σχεδιασμένο για φορητές συσκευές και ηλεκτρονικούς υπολογιστές. Στο «Ένα Μέρος με το όνομα Ανονικότητα», η ιστορία ξετυλίγεται μέσα από μια σειρά επεισοδίων στη ζωή του Κυρίου Ανονικού, ενός νομοταγή πολίτη που κατοικεί στον κόσμο της Ανονικότητας όπου όλα έχουν την αισθητική κινουμένων σχεδίων: η Ανονικότητα υπάρχει σαν ένα εναλλακτικό σύμπαν με τα δικά του ιδιοσυγκρασιακά μοτίβα γλώσσας. Ο κόσμος αρχικά μοιάζει Ουτοπικός, αλλά όπως ξετυλίγεται σταδιακά η ιστορία γίνεται σαφές ότι στην πραγματικότητα αυτή η αλληγορική μυθοπλασία ιχνηλατεί ουσιαστικά την κατασκευή μια παρεμβατικής ουτοπικής κοινωνίας, στην οποία οι πολίτες είναι υποχρεωμένοι να κατανοούν τι ενδέχεται να συμβεί αν παγιδευτούν μέσα στα ίδια τους τα σπίτια στο όνομα της «ασφάλειά» τους. Απεικονίζει τον τρόπο με τον οποίο οι φασιστικές αρχές μπορεί να αναδυθούν στα πιο καλοπροαίρετα μέρη – η ιστορία δίνει έμφαση στο πόσο φαύλη είναι αυτή η διαδικασία και πόσο αναχαιτίζει τα πάντα.
Μετάφραση: Δήμητρα Ιωάννου

Please, follow this link to watch “A Place Called Ormalcy:”

http://mezbreezedesign.com/vr-literature/a-place-called-ormalcy/

Mez first started deep diving into the Internet in the 1990’s to create digital works and she hasn’t slowed since. In 2019, Mez’s Virtual Reality Series V[R]ignettes won the 2019 QUT Digital Literature Award and Mez was awarded the 2019 Marjorie C. Luesebrink Award which: “…honors a visionary artist who has brought excellence to the field of electronic literature.”

Socrates Stamatatos

F*CK THIS COP(ING) MECHANISM

This performative collage/meme depicts the dysphoria that the police brutality creates in Greece. During the pandemic, the search for coping mechanisms in order to survive is desperate. While striving for emotional balance, the government pushes our limits further by strengthening the fear of existing in public spaces. To establish their fascist agenda, they conceal police brutality as their coping mechanism for COVID-19 outbreaks.

With the government monitoring our every move, the burden of creating safe spaces and healthy coping mechanisms becomes a personal matter. Being more than 5 months locked down, getting banned several times on social media, fearing a potential attack while collectively marching, builds a solitude chamber for each subject. The need for solidarity can’t be easily approached, or when it does, it comes with great cost, and gets stripped away eventually.

The Greek government not only vilified social media, by verbally attacking them and consistently banning people’s actions there, but they spent a significant amount of money on the Greek Media( ex. Major tv networks) to promote their agenda and far-right actions. As a result there are not many spaces left to exist, create, get informed, protest.

Being Queer in Greece and taking under consideration the massive attacks on several of our rights, the fear of being present in public places no longer seems like a dystopian nightmare. The nightmare transformed into reality with the collective memory notifying us that this common experience resembles a contemporary junta.
At the same time, the need for self care and coping with this junta keeps getting bigger every day. From a personal perspective, napping is the only outlet left as it creates an embracing and caring space, free from dysphoric thoughts and from being constantly bombarded with new unpleasant information.

Socrates Stamatatos is graduate from the Athens School of Fine Arts, Department of Theory and History of Arts with research focused on contemporary and queer arts. He has worked as an art mediator and assistant curator with many art organizations, such as the non-profit cultural organization NEON. He/She was also part of “FILOTIMO” a project commissioned by the Dutch based magazine “Are We Europe”. The project was nominated as a top recommendation by “The Guardian”. As a drag artist he/she has strong presence in the arts sector and has worked in many projects commissioned by various Greek cultural institutions, such as the Athens-Epidaurus Festival and the Greek Ministry of Arts,Culture and Sports to name a few.