2018 – georgia sagri

2018

Household

at Essex Street Gallery, New York (3/11 - 23/12/18)

At ESSEX STREET, New York, Georgia Sagri re-assembles a social and aesthetic body – “an assembly of assemblages” – following a parallel presentation at Lars Friedrich, Berlin.i There, she gathered a plurality of imprints: a bathroom sink, column base, cornered stairs, cracked street. Here, another imprint made on-site – entrance – joins Square, an iteration in a series of alterations to public space; And (1-18), an endless edition of broken, walled enclosures; and deep cut, wounds that have been enlarged from their initial presentation. Though the formal components of the exhibition remain the same, their repetition deviates under the unique pressures of ESSEX STREET.

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Imprint Entrance, 2018, Papier mâché, newspaper, wood, 34 x 86 x 48 cm, Essex Street, New York. ©Georgia Sagri

Household, installation view, Essex street, New York. ©Georgia Sagri

Installation view, Deep Cut, 2018, Laserprint on 3M vinyl sticker 59 ½ × 132 ⅝ inches (151 × 337 cm), Essex Street, New York. ©Georgia Sagri

Square, (2007) Ed. 2018, Concrete 55.12 x 55.12 x 4.33 inches (140 x 140 x 11 cm), Essex Street, New York. ©Georgia Sagri

Semiotics of Household

at Hester Street, New York (3/11/18)

Yet a boundary drawn is never quite fixed. In the video documentation of her droll yet intensely poignant Semiotics of the Household, 2018, the artist is seen on a quiet Lower East Side street at sunset removing her possessions one by one from her wheeled carry-on suitcase, right down to her cosmetics and passport, and using them to draw a line across the street before packing them up and repeating the process. Aux barricades indeed; the personal is political, even the toiletries. Sagri’s act temporarily, gently impedes the flow of traffic; a blockage in the system is created—a minor-key reprise of, say, the occupation of a city park. Reaction from drivers is generally patient; even a garbage truck waits unhonking for her to move out of the way. But after an hour, the NYPD arrives and summarily finds a reason to handcuff a woman with a thick accent acting aberrantly in public. While her responses to the police’s queries are mostly smiling and blandly circular, when the cuffs go on she appears to break character for just a moment, declaring to an off-camera friend, “I cannot be arrested,” hinting at the visa troubles she had after Occupy. -CHAOS CÉLÈBRE: Domenick Ammirati on the art of Georgia Sagri (Artforum, issue November 2019)

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Semiotics of the Household. ©Georgia Sagri

Household

at Lars Friedrich Gallery, Berlin ( 15/9 - 27/10/18)

For her exhibition at Lars Friedrich gallery in Berlin, Georgia Sagri invents a social and aesthetic body: an assembly of assemblages and the insides are coming out. The fleshy ripped parts, the touched and informed parts, the messy wet parts that then dry and are cracked and repaired: as these forms collect and assemble, they compose one another, en masse. They are investing in the inside out of forms, onto the negative of the negative and their points of view, looking like from another place, creating an infrastructure from which alternative, embodied organization can be felt. An open apparatus: a set of propositions about the textures and materials of an experimental body. Though cornered and contained, they live together beneath the register of what is properly made. It is a somatic and massified makeup of materials, affects, textures, excesses, abandonments, and multiplicities. An assemblage is a multiplying set of propositions across varying spaces and times: an everywhere irruptable potential to collectively recompose. The assembled body is internally differentiated but indistinct. To assemble is to differentiate.

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Household, installation view, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Open wound, 2018, Laserprint on 3M vinyl-sticker, 200 x 50 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Fresh bruise, 2018, Laserprint on 3M vinyl-sticker, 108 x 70 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Deep cut, 2018, Laserprint on 3M vinyl-sticker, 180 x 90 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Imprint sink - detail, 2018, papier mâché, newspaper, wood, 99 x 122 x 55 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Imprint sink, 2018, papier mâché, newspaper, wood, 99 x 122 x 55 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Imprint pavement - detail , 2018, papier mâché, newspaper, wood, 63 x 137 x 88 cm, unique, Lars Friedrich gallery, Berlin, ©Georgia Sagri

Imprint pavement, 2018, papier mâché, newspaper, wood, 63 x 137 x 88 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Household, installation view, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Imprint column (shadow, towards a theory of multiple dimensions), 2018, papier mâché, newspaper, wood 86 x 155 x 24 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Imprint column (shadow, towards a theory of multiple dimensions) - detail, 2018, papier mâché, newspaper, wood 86 x 155 x 24 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Imprint stairs, 2018, papier mâché, newspaper, wood, 38 x 80 x 48 cm, unique, Lars Friedrich gallery, Berlin. ©Georgia Sagri

Time Bomb

at The Watermill Center, New York (28/7/18)

In tribute to Pierre Bergé, presented by Van Cleef & Arpels. Described as an enchanted forest and performance art extravaganza, the Annual Watermill Center Summer Benefit unites the worlds of art, performance, music, theatre, design, architecture and fashion. All funds raised support The Center’s year-round Artist Residency and Education Programs that provide a unique environment for young and emerging artists to explore and develop new work.

Georgia Sagri participated with the works 'Invisible Ones '(2008) and 'Square' (2007), performance & in situ sculpture.

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Invisible Ones '(2008) , 'Square' (2007) at The Watermill Center ©Georgia Sagri

Invisible Ones '(2008) , 'Square' (2007) at The Watermill Center ©Georgia Sagri©Georgia Sagri

GEORGIA SAGRI and I

at Portikus, Frankfurt and Main, Germany (21/4 - 17/6/18)

Georgia Sagri and I is a playlist, a perspective on retrospective and an exhibition of exhibiting – an institution without confines. For the first time, sculptures, video works and performances from the last ten years of Georgia Sagri’s multidisciplinary oeuvre come together. Their display is treated as a score that decides on tempo, duration, entry and exit. Screenscapes, landscapes, soundscapes are all part of it, as are performances, concerts, workshops and their organizing modes.

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Georgia Sagri and I, installation view. ©Georgia Sagri

Georgia Sagri and I, 2018 Inkjet Print on paper 118.9 × 84.1 cm Poster for the exhibition Portikus, Frankfurt Design by Ronnie Fueglister. ©Georgia Sagri

Jay Glass Dubs Concert, Portikus

The Invisible Ones (2008) Audio 5‘ looped, performance, April 21, 2018, variation of 3hrs

The Invisible Ones (2008) Audio 5‘ looped, performance, April 21, 2018, variation of 3hrs, ©Georgia Sagri

Georgia Sagri and I, installation view. ©Georgia Sagri

Documentary of Behavioural Currencies (2016) Plywood, shatter boards, acrylic and varnish on wood,corrugated metal sheet, fans, acrylic on plastic sheet, LED tv, HD video 10‘30‘‘ with sound looped, MP4 format on USB drive, thermal tubes,acrylic glass, oil paint on canvas, inkjet print on Tyvek paper, sand and acrylic paint on plywood, various metal components 323 × 240 × 180 cm, Photo by Stathis Mamalakis. ©Georgia Sagri

Georgia Sagri and I, installation view. ©Georgia Sagri

Georgia Sagri and I, Installation view Crop Marks (2010) Ed. 2018: 20 pieces, vinyl 20 × 20 cm Ads for Air (2017) Score of 8 videos (2008–2010) Screen 3: HYMBRO (2008) Video with sound 2’43’’ HYMBRO (2008) Concrete Ed. 2018: 51 × 99 × 119 cm. ©Georgia Sagri

HYMBRO (2008) Concrete Ed. 2018: 51 × 99 × 119 cm Square (2007) Concrete Ed. 2018 11 × 140 × 140 cm, Courtesy of the artist The Invisible Ones (2008) Audio 5‘ looped, performance, April 21, 2018, variation of 3hrs. ©Georgia Sagri

Georgia Sagri and I, installation view. ©Georgia Sagri

Square (2007) Concrete 20 × 20 cm Ed. 2018: Square (2007) Concrete Ed. 2018: 11 × 140 × 140 cm. ©Georgia Sagri

And (2018) Acrylic paint on cardboard, wood 190 × 83 × 120 cm. ©Georgia Sagri

Christos Chondropolous Concert, Portikus

Do Jaguar (2009/2018) Lacquer paint on vinyl floor, iPod Nano, audio 10‘, PowerPoint presentation 23‘17‘‘ with sound, performance (8hrs per day) Variation of 8hrs Performance, Städelschule

Do Jaguar (2009/2018) Lacquer paint on vinyl floor, iPod Nano, audio 10‘, PowerPoint presentation 23‘17‘‘ with sound, performance (8hrs per day) Variation of 8hrs Performance, Städelschule, ©Georgia Sagri

Georgia Sagri, lecture at Städelschule

Tasos Sagris & Whodoes, Poetry reading and electronics, Portikus

HYMBRO (2008/2018) Variation of 3hrs Performance, Portikus

Minimaximum Concert, Portikus

Dynamis workshop, Portikus

Moved by Surprise, Speak by Surprise

at Emily Harvey Foundation, New York (28/3/18)

Georgia Sagri’s Moved by Surprise, Speak by Surprise intends to explore how personal experiences are documented in the materiality of the archive, and whether individual narratives survive the historical rigor that we attribute to collections of documents. If the performance reaches its momentum, it creates a limbo in which the artist describes a past event in its actuality, while she shapes, within the collective, a new element of the archive that is created during the performance. Remembering a work by Ben Patterson in which Sagri took part in 1998 at the School of the Art in Athens, the artist becomes the carrier of information which temporally and geographically has traveled through the body. The making of Moved by Surprise, Speak by Surprise at the Emily Harvey Foundation (EHF)—which, in 2016, hosted the memorial for Patterson—reveals a segment of the charged history of the building at 537 Broadway, extending the past into the present, and connecting the EHF in New York to the School of the Arts in Athens.Curated by Alice Centamore.

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Works

Semiotics of the Household

Household

Moved by Surprise, Speak by Surprise