2026 – georgia sagri

Performance Pathologies at Skowhegan NYC

at Skowhegan NYC, New York (31/03/26)

For artist Georgia Sagri, the stage is not a site for execution, presentation, or instruction, but a framework for acknowledgment, rest, and embodied awareness—an act of invitation rather than response. Within her long-term research practice IASI (ίαση), the term performance pathologies emerges to describe the physiological and affective conditions produced by sustained regimes of performance, productivity, and exposure.

In the summer of 2024, Sagri spent several weeks at Skowhegan School of Painting & Sculpture as a visiting faculty member, working closely with participants. She shared her embodied knowledge within a specific environment—one that continuously questions the possibility of recovery while confronting the intensity of artistic production and its demands.

At Skowhegan NYC, as part of the Ecologies of Production public program, IASI operates as a temporary and flexible infrastructure—unfolding quietly and remaining accessible without obligation. The presentation follows a series of one-to-one IASI sessions, reflecting on how artistic structures can create conditions for recalibration and more sustainable artistic practice.

↓

Georgia Sagri, Performance Pathologies at Skowhegan NYC, 2026, presentation, Skowhegan NYC, New York

Prelude for a Press

at Palace Enterprise, Denmark (19/03/26 - 25/04/26)

Marie Angeletti, Gerry Bibby, Ezio Gribaudo, Asger Jorn, Marion Milner, Anastasia Pavlou, Georgia Sagri, Jesper List Thomsen, Jackie Wang

We find Henri Michaux diving “as blood runs in the veins,”[1] uncaring, flawlessly adept, from bed into literature, a poetry that allows even those who can’t swim, let alone dive, to dive deeper, better and more profoundly. This is an articulation of Michaux the writer, happily, buoyantly, venturing into an athleticism that his day-body denies him. And it is here, as an athlete in bed, that he declares love for that which is carried by the imagination, a delirious body reaching rare depths poetically and at sea. The exhibition is a prelude for the press An Athlete in Bed, perhaps even its first act of publishing. An Athlete in Bed is organised and edited by Jesper List Thomsen.

[1] From ‘Athlete in Bed’ by Henri Michaux, published in ‘The Selected Writings of Henri Michaux’, New Directions, 1990. The poem was first published in the French language as ‘Le Sportif au Lit’, in ‘La Nuit Remue’, Gallimard, 1935.

↓

Crop Marks (2010), vinyl, 20 x 20cm (x2), [Polytechnic, 1999, performance, November 17, 1999, in front of the Polytechnic University on Patission Street, Athens, Photo]

Publishing the Body: A symposium by An Athlete in Bed

at Stanza, Copenhagen (02/05/26)

Publishing the Body gathers eight practices (and an audience) that each by way of their distinct knowledge, material concern and deliberate approach unfold and hold the body in varying states of being. Taking place across dance, lecture, sculpture, conversation and song, each contribution proposes an awareness or comprehension to the room, that as a cumulative form, proposes a possible cartography for reading contemporary body rendition and sharing.

Publishing the Body is therefore a research event, an opportunity for knowledge, matter and bodies to mingle, and through such conjunction and proximity, provoke new relations between knowledge, matter and bodies.

Hosted and organised by Jesper List Thomsen .

↓

Gone, Gone Beyond

at Centre Pompidou, Paris (15/01/2026 - 31/01/2026)

Georgia Sagri presents Gone, Gone Beyond as part of Drawing Performances, a program organized by Centre Pompidou in collaboration with Drawing Lab Paris, in dialogue with the exhibition “Drawings Without Limits” at the Grand Palais (16/12/2025 - 25/03/2026).

Opening the program, Sagri explores the body’s capacity for transformation, where drawing precedes performance, functioning as a space where gestures take shape and emotions are inscribed.

Georgia Sagri’s practice unfolds as an investigation into breath – the invisible yet material force that binds us. Her new work, comprising a sculpture and a performance, offers two parallel strategies for engaging the self, each reflecting on the shifting nature of the “I”. The project was conceived by the artist after encountering one of Greece’s most important contemporary poets, Katerina Anghelaki-Rooke, who composed her final work in a time of deep personal grief. In the performance, Sagri stages a dialogue with the self, asking how identity can be reassembled when coherence falters — how we pause and acknowledge sorrow, and take the next step towards connection.

The work examines how we perceive, fragment, and recompose ourselves in moments of rupture. The pressure-device sculpture functions like a living organism, and as it inhales and exhales the materiality of air, often dismissed as immaterial, becomes tactile and audible. Sculpture and performance share a single membrane: both in constant motion, both vanishing and returning. Together, they propose a coexistence of the visible and the invisible. Sagri’s work gives disappearance a form and presence a face, composing the self after the vanishing ego — gone, gone beyond — in the very moment of its healing.

The performance took place on January 15th, 2026 at Drawing Lab Paris.

↓

Georgia Sagri, Gone, Gone Beyond, 2026, performance, 30m, Centre Pompidou x Drawing Lab, Paris