2022 – georgia sagri

YOYI! Care, Repair, Heal

at Gropius Bau, Berlin (16/9/22 - 15/1/23)

YOYI is the name of the ceremonial song, dance and coming together that is central to Tiwi culture in northern Australia. YOYI! Care, Repair, Heal references this exclamation – an invitation to come together in celebration and mourning.

Following this invocation, the 25 invited artists embody just as many different strategies to critically challenge, re-invent, expand, perpetuate and disavow notions of care, repair and healing. Certain artists provide a critical lens on how the concept of care has been misused. Others propose methods of repair that differ significantly from Western perspectives. Finally, some ask if healing is possible or even needed. This spectrum of voices resonates through works in video, installations, paintings and performances, exhibited together across the entire ground floor of the Gropius Bau.

With works by Pierre Adler, Brook Andrew, Kader Attia, Tosh Basco, Mohamed Bourouissa, Andrea Büttner, Lavkant Chaudhary, Lygia Clark, André Eugène, Artemisia Gentileschi, Johanna Hedva, Jilamara Arts & Crafts Association, Anne Duk Hee Jordan, Eva Kot’átková, Betty Muffler & Maringka Burton, Grace Ndiritu, People’s Archive of Rural India, Outi Pieski, Paula Rego, Tabita Rezaire & Amakaba, Georgia Sagri, Yhonnie Scarce, Reginald Sénatus (Redji), SERAFINE1369 and Wu Tsang

Curated by Brook Andrew, Kader Attia with Giscard Bouchotte, Natasha Ginwala, Bárbara Rodríguez Muñoz, under the curatorial lead of Stephanie Rosenthal in collaboration with SERAFINE1369, In House: Artist in Residence 2021

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" Care, I say recovery, from the vast depths of the land to the most intimate unknown parts of our human existence. Here at Gropius Bau, in this shared room with Artemisia Gentileschi, the question of history of colonial and sexual violence doesn't just remain critically observed but it aspires the strength to process forms of recovery. Painting is touch, therefore my paintings are treatments." -Georgia Sagri

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Installation view YOYI! Care, Repair, Heal , 2022 Georgia Sagri: Inhale and Exhale with the mouth turned arms, Treatment 28 September, 2020 | Breathing (7_1_7) | Treatment, May 18th, 2020 | Windface © Gropius Bau, Photo: Laura Fiorio

Installation view YOYI! Care, Repair, Heal , 2022 Georgia Sagri: Treatment, May 18th, 2020 | Breathing (7_1_7) | Inhale and Exhale with the mouth turned arms, Treatment 28 September, 2020

Installation view YOYI! Care, Repair, Heal , 2022 Georgia Sagri: Treatment, May 18th, 2020 | Breathing (7_1_7) | Inhale and Exhale with the mouth turned arms, Treatment 28 September, 2020 © Gropius Bau, Photo: Laura Fiorio

Le Grand désenvoûtement Chapitre 1

at Palais de Tokyo, Paris (9-18/12/22)

As part of Le Grand désenvoûtement [Spiritual Healing], Georgia Sagri presents a selection of drawings from this process of autonomous self-care. Over the course of the session, volunteers take up position on a stage covered in mattress. The exercises of diaphragm vibration that the artist proposes enables them to observe and localize within their bodies the pains that are symptoms of contemporary lifestyles and social and professional injunctions. Drawing is one tool used by the artist in this process for identifying pain. Through their titles and their visual cues, the drawings presented in this exhibition, which were created in 2020, individually attest to collective ills which enter into resonance here with the reality of a cultural institution that is also a possible pool of more or less unconscious pathologies.

Elsewhere, Georgia Sagri links these cartographies of pain to an incisive analysis of the art field through a reading of texts from her collection Stage of Recovery (Divided Publishing, 2021), which took place on Friday 9 December at 6PM.

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Georgia Sagri, Technique 5_1_5, 7_1_7, 12_1_12, with movement of the arms while focusing on the pain of the shoulder,hips and knees, 2020, & Edith Dekyndt, Radiesthetic Hall, 2008 - ongoing, installation view, Palais de Tokyo, Paris. Photo by Aurelien Mole © Geogria Sagri

Georgia Sagri, installation view, Palais de Tokyo, Paris. Photo by Aurelien Mole © Geogria Sagri

Georgia Sagri, Source, Hands and Arms, 2020, installation view, Palais de Tokyo, Paris. Photo by Aurelien Mole © Geogria Sagri

Georgia Sagri & Edith Dekyndt, installation view, Palais de Tokyo, Paris. Photo by Aurelien Mole © Geogria Sagri

Georgia Sagri, installation view, Palais de Tokyo, Paris. Photo by Aurelien Mole © Geogria Sagri

Antigone Model: Presentation and Discussion with Georgia Sagri

at University of Thessaly, Volos (24/10/22)

Presentation by Georgia Sagri of her performance series titled Antigone Model (2011–2016) which was shown in Athens, Berlin and New York:

Antigone Model (2011) at Real Fine Arts, New York and XYZ Outlet, Athens Georgia Sagri visits Sophocles’ Antigone, its translation by Friedrich Hölderlin (1804) and its adaptation by Bertolt Brecht. These three texts act as forces compelling the body to produce modules of sentiment (crying, laughing, facial expressions) that are repeated and reused.

Antigone Model (2013) at KW Institute for Contemporary Art, Berlin Six sculptures in an installation function as a chorus and as individual characters brought to life by Sagri through the use of objects, creating vocal and rhythmic soundscapes that are recorded and repeated. The installation and performance are conceived as a whole and exist as equal parts of the work.

Antigone Model Coda (2016) at the Onassis Foundation, New York Vocal and rhythmic soundscapes are recorded and repeated while Sagri synchronizes her movements with the recorded sounds. Each minute of the seven-minute coda, performed in a loop for half an hour, represents a figure in the tragedy.

The presentation takes place in the context of the postgraduate seminar “Displacements, liminality and otherness: Anti-colonial epistemologies and contemporary critical theory”, taught by Elena Tzelepis. Georgia Sagri is joined in discussion by members of the research project.

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'Antigone Model: Presentation and Discussion with Georgia Sagri ' as seen on https://antigones.gr

Prizing Eccentric Talents II

at P.E.T. Projects, Athens (8/6-12/10/22)

With Prizing Eccentric Talents II, the curators George Bekirakis and Angelo Plessas imagined the concept of prize as a plot for how individuals and groups relate or connect.

Works by: Alexandra Bachzetsis, Anastasia Douka, Dionisis Kavallieratos, Evi Kalogiropoulou, Niki Kanagkini, Alexandra Kehayoglou, Miltos Manetas, Maria Papadimitriou, Eleni Papazoglou, Angelo Plessas, Georgia Sagri, Eva Stefani.

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Prizing Eccentric Talents II, installation view, P.E.T. Projects

Holes Spirals Waves: Three-day Workshop & Talk

at IASPIS, The Swedish Arts Grants Committee, Stockholm (25-28/9/22)

The three-day workshop by Georgia Sagri titled IASI - Stage of Recovery, which is also the given name of her long-term research practice, was organized in the framework of Holes Spirals Waves, a program curated by Valerio Del Baglivo. The program addressed forms of chrononormativity as well as cultural, social and political constructed concepts of time. Sagri's workshop invited participants from various backgrounds to train together, physically, and emotionally and to respond intimately on questions of care fatigue, trust and pain. Eventually the temporal group of practitioners dedicated time with one another to investigate through physical responses and conversations, notions of self-recovery. The artist's talk, concluded the workshop's proceedings, touching upon topics of performance pathology and its recovery.

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Georgia Sagri,IASI Stage of Recovery three day workshop, Holes Spirals Waves IASPIS, Stockholm

Institute of Artistic Practices 2022

at Tabakalera, San Sebastian (1/6-31/8/22)

Guest teachers: Rosalind Nashashibi, Georgia Sagri, Lea Porsager, David Bestué, Ainara Elgoibar, Alejandro Cesarco, Ibon Aranberri, Jon Mikel Euba, Asier Mendizabal, Itziar Okariz, Mattin, Pierre Bal-Blanc, Isabel Herguera, Erlea Maneros Zabala and Txaro Arrazola

Tutors: Ibon Aranberri (artist), Asier Mendizabal (artist and Professor at KKH, Royal Institute of Art of Stockholm), and Itziar Okariz (artist)

Study Committee made up of Catalina Lozano (Chief Curator at Artium Museoa), Oier Etxeberria (Head of Public Programmes and curator at Tabakalera International Center for Contemporary Culture), and the three aforementioned tutors.

The proposed mechanics are designed to encourage each guest artist to offer a unique vision of his/her own creative processes. A question is posed to all guest teachers as a frame for their proposal which serves as a definition of the program: Which practical knowledge that informs your practice can you share with others? This brings the methodology of the programme close to the relationships that are created in the workshop space, in the specific practices that are carried out in each moment and situation and not in a theoretical procedure. Said methodology will be put into practice by means of exercises, workshops, and other ad hoc meetings.

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Institute of Artistic Practices 2022 at Tabakalera, Spain

Case_L

Kunsthalle Friart, Fribourg (10/6-31/7/22)

Case_L is the deployment, in the form of an exhibition, of artist Georgia’s Sagri practice of self-recovery and her ongoing research on the physiological and pathological conditions of the body in hyper-capitalist society. A series of techniques (breathing, movement, voice) named IASI (recovery in greek) are used for the preparation of and self-recovery from demanding performance pieces and shared to help others in one-to-one sessions that follow a protocol of confidentiality. Case_L is the study of a recurring case that emerged through IASI sessions, namely that of panic attack. The exhibition unfolds in Friart as a spatial, metaphysical, felt and ideological structure. Its steps include the manifestation, expression, treatment and recovery in a path favoring transversality and connectivity over the segregation of knowledge and perception. Through attention to the diaphragm – metaphorically suggested by the artist as horizon – the exhibition opens up the possibility of recovery from the mechanisms of aggression and fragmentation in which the body is considered an extractable resource. In Friart, Georgia Sagri continues her unique approach of the exhibition as a multi-faceted assemblage of mediums and relationships, including a week-long performance piece entitled Shelter_Refuge along with her works, drawings and writings.

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Case_L, instllation view, Kunsthalle Friart, Fribourg. Photo by Stathis Mamalakis ©Georgia Sagri

Case_L Conversations

at Kunsthalle Friart Fribourg, Switzerland (11/6-31/7/22)

Case_L, the deployment, in the form of an exhibition, of artist Georgia’s Sagri practice of self-recovery and her ongoing research on the physiological and pathological conditions of the body in a hyper-capitalist society.

Parallel program:

Conversation with Georgia Sagri, Mai-Thu Perret and Bea Schlingelhoff

Conversation with the Georgia Sagri, the curator Nicolas Brulhart and guest

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Choreographic Devices

at The Institute of Contemporary Arts, London (10-12/6/22)

Choreography is no longer simply the art of making dances: complex models of the choreographic are increasingly tasked to investigate and animate the intersecting spatial, corporeal, affective and informational dimensions of being entangled with the world.

What kind of choreographic arrangements can we compose to put diverse thinkers and practitioners in relation to one another? What kinds of time spaces can be plotted, imagined and enacted, when the symposium itself is choreographed and takes shape as a sequence of sessions, each brought to life by different hosts? Through contributions and interventions by over 30 international protagonists from across an expanded ecology of practices, this multi-format symposium speculates on the affordances of choreographic (re-)arrangements and their complex forms of co-production, and tests how organisational formats, material assemblages, and modes of being alongside each other, might be choreographed otherwise.

Choreographic Devices assembles contributors operating across multiple disciplinary boundaries, including Murat Adash (artist), Edwina Ashton (artist), D. Graham Burnett (teacher, writer, interdisciplinary maker), Ofri Cnaani (artist), Augusto Corrieri (artist), Critical Interruptions (Diana Damian Martin + Bojana Janković) (artists), Lou Forster (art historian, curator), keyon gaskin (artist), Martin Hargreaves (dramaturg, writer, performer), Vlatka Horvat (artist), Lenio Kaklea (choreographer, dancer, writer), Sarah Keenan (writer, theorist), André Lepecki (performance studies theorist, curator), Jason Edward Lewis (digital media theorist, poet, software designer), Raimundas Malasauskas (silk painter), Tavi Meraud (artist), Samaneh Moafi (architect, investigator), Rebecca Moss (artist), Harun Morrison (artist, writer), Sandra Noeth (body theorist, curator), Lara Pawson (writer), Daniela Perazzo (dance and performance theorist), Stamatia Portanova (theorist), Filipa Ramos (writer, curator), Irit Rogoff (educator, theorist), Florian Roithmayr (artist), Georgia Sagri (artist), Edgar Schmitz (artist), SERAFINE1369 (artist), Noémie Solomon (theorist, curator), Matthias Sperling (artist, choreographer, performer), Starhawk (author, permaculture designer, teacher, activist), Soap Bubble (complex mathematical problem), and Arkadi Zaides (choreographer).

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Georgia Sagri, Choreographic Devices at ICA (2022)

KHMxMMM Artist talks Malmö

at Moderna Museet Malmö (27/4/22)

KHM x MMM is a series of lectures and artist talks created in collaboration between Malmö Art Academy and Moderna Museet Malmö.

KHM x MMM presents a broad programme of internationally active artists, theorists, writers and curators connected to current themes and exhibitions. The programme and the invited speakers are presented continuously. Free admission.

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Stage of Recovery at Moderna Museet Malmö

SPINE

at IsdaT, institut supérieur des arts et du design de Toulouse (7-11/2/22)

Georgia Sagri shared and developed with the students the tactile forces and her research's techniques of IASI (recovery). In the training, physical responses, as well as conversations with the students, furthered the investigation and the analysis of care, self-recovery, pain and fatigue, exhaustion, and anxiety. Further more Sagri organized one-to-one studio visits in the form of private sessions, meetings or/and conversations. The assemblage of visual, gestural, and vocal impressions of the accumulated bodily experiences explored simultaneously on a personal and collective level: their chronic pains and their releases formed the backbone, the SPINE, a presentation in the form of a collective performance on the workshop's final day.

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Georgia Sagri, SPINE, four-day workshop, poster, IsdaT, institut supérieur des arts et du design de Toulouse