"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of visual art, performance art and civic engagement at its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an alternative perspective on how art can reshape our understanding of the world.
The essential aspect of this artistic journey lies in the intentional staging of artistic interventions and performances in public spaces, where meeting the audience is not a predetermined spectacle but an encounter. This purposeful approach to performance art seeks to dissolve the conventional distinction between the artist and the spectator, fostering a unique, special connection that is spontaneous and genuine.
I view public space as not merely a material, but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Henri Lefebvre’s approach to urban public space not as a neutral container of social life, but as a fluid entity, constructed and produced by social practices. Lefebvre’s stance confirms and expands my view that public space is not fixed or definitive, yet it requires a conscious effort on the part of both the artist and the audience to produce.
The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long-durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the perspective of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life.
In embracing the public sphere as its canvas, civically engaged performance art practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.
At the heart of "My Public Stage" is a commitment to social empowerment and the awakening of social sensitivity. In this sense, performance art is not merely a form of self-expression; it becomes a vehicle for societal change. By engaging with the public in unexpected ways, performance art practice disrupts learned socio-spatial practices, challenging established norms, and inviting individuals to question and reflect on their own roles within the larger societal framework.
Through continuous exploration and innovation, the artist contributes to a deeper understanding of how the arts can transform our interactions with and interpretations of the world. "My Public Stage" becomes a living testament to the potential of art to shape societal narratives, fostering a collective consciousness that extends beyond the traditional confines of galleries and theatres.
As a practitioner of "My Public Stage," the artist becomes a conscious creator, shaping the narrative of daily life through performance acts that are both contemplative and provocative. The symbiosis between art and the public sphere emerges as a powerful tool for fostering civic engagement, challenging individuals to actively participate in the co-creation of their shared reality.
In conclusion, "My Public Stage" transcends the boundaries of traditional performance art by integrating civic engagement into its very fabric. It taps into the transformative potential of art in shaping our perceptions, fostering social sensitivity, and empowering individuals to actively engage in the co-creation of a more conscious and empathetic society. Through this practice, the artist becomes a catalyst for change, utilizing the public sphere as a dynamic canvas for societal transformation.
As an artist reflecting on the intersection of performance art, the public sphere, and civic engagement on "My Public Stage," I pose the following questions:
I stand, atop a tree stump, symbolizing the contradiction of human dominance over nature. With the stump, I emphasize how people often fail to realize that the branch they see is also the branch they are standing on, forgetting their vulnerable dependence on the natural world.
The severed tree stands as a symbol of loss and estrangement from nature. In our relentless pursuit of progress, we have too often neglected the very foundation upon which our existence stands: the environment. The consequences of our actions are becoming increasingly apparent as we face the looming specter of climate change, a crisis that threatens not only the delicate balance of the ecosystems we rely on, but the very future of our planet.
Climate change, driven by human activities such as burning fossil fuels, deforestation, and industrial processes, has unleashed a cascade of environmental challenges. Rising temperatures, more frequent and severe weather events, melting ice caps, and sea-level rising are just a few of the visible symptoms of our planet in distress. Yet, despite the overwhelming evidence and urgent warnings from scientists, our response has often been inadequate and slow.
The irony lies in the fact that while we consider ourselves masters of technology and innovation, we have become captives of our own excesses. Our relentless consumption and disregard for the natural world have led us to this perilous juncture. We find ourselves at a crossroads where our choices will determine the fate of generations to come.
It's time to recognize that our estrangement from nature is not only damaging our environment but also our collective well-being. The sense of disconnection from the natural world has contributed to the rise of mental health issues, as people grapple with a growing sense of eco-anxiety, knowing that the world they will inherit is becoming increasingly uncertain.
To address the climate crisis, we must start by acknowledging our interconnectedness with the environment. We are not separate from nature; we are an integral part of it. Our actions have consequences, and it is our responsibility to steer the course toward a more sustainable future. This begins with reducing our carbon footprint, transitioning to renewable energy sources, and rethinking our consumption patterns.
But the solution does not just lie in policy changes and technological advancements, but in a fundamental shift in our relation with the natural world. We must rediscover our reverence for nature and rekindle our sense of wonder for the planet's beauty and complexity. It's through this reconnection that we can find the inspiration and motivation to protect and preserve the world we call home.
The severed tree trunk beneath my feet reminds us that we have the power to mend what has been broken. It is a symbol of hope that, even in the face of daunting challenges, we can choose to stand by the side of nature and work towards a harmonious coexistence with the world that sustains us. The choice is ours to make, and the time to act is now.
The fifteen-year-long economic and cultural crisis in Greece
During the fifteen-year-long economic and cultural crisis in Greece, public space has also been significantly affected. Art in the public sphere has been facing challenges and opportunities during this period. On the one hand, economic constraints resulted in budget cuts for cultural projects and events. On the other hand, however, the crisis fostered innovative approaches and compelled artists to respond to the new social and economic reality. Through various cultural events and the intensified integration of art into public space settings, artists have played a role in reshaping and enhancing the country's social and cultural identity. Art in public space has sparked reflection, dialogue, and interactions that contribute to exploring solutions and strengthening social cohesion in a period when the country faces both economic and cultural challenges.
info: www.ioanniskarounis.com
• How does my performance art stimulate the audience's active participation in shaping public spaces?
• In what ways can performance acts in public space enhance the audience's emotional connection with my art providing insights into the personal and social societal narratives they aim to convey?
• What role does the public sphere play in the dynamic relationship between my artistic creations and the social space where we interact ?
• How does engaging citizens in the creation of public space through performance art challenge and reshape our perception of the social role of art?
• What messages does my performance art convey regarding the importance of civic participation in the public sphere?
• In what ways does the audience's involvement in my art contribute to shaping public space and, in turn, communal awareness and empowerment?
• How does encountering the audience during performance acts affect the spontaneity and authenticity of the artist-audience interaction?
• Can audience participation in creating public space positively shape communal consciousness and redefine societal norms?
• What is the significance of the serendipitous encounter with the audience in the context of "My Public Stage"?
• How does my artistic practice contribute to shaping more conscious and engaged communities through the transformative potential of performance art within public spaces?
Athens, a city facing a number of challenges, often conceals its difficulties behind its tourist facade and the bright sunlight. Young Athenians, confronted with unemployment and a crisis that has persisted for many years, leave their homeland behind seeking a better life.
In this environment, life appears to be an uncertain lottery, where success is difficult to achieve. Even immigrants hoping for a better future see their dreams crumble, and the sense of alienation in the new host country makes them even more helpless.
In this context, the project aims to highlight the lost hope and the light at the end of the tunnel through the eyes of Athenian citizens.
"Depression and Resistance: A Critical Chapter in Modern Greek History"
The period of economic crisis that began in the mid-2000s and continues to this day has deeply marked the modern history of Greece. The Greeks have had to face economic uncertainties, job loss, and a deterioration of their living standards, leading to increased stress levels, anxiety, and isolation. What is more, citizens experienced disillusionment with the political and social institutions, the collapse of social rights, and the political establishment's inability to address the problems. This loss of faith in the system led to political disapproval and reaction, with the Occupy Movement being a notable expression of this sentiment.
Beyond its economic causes and political consequences, this period has brought about an additional challenge: the emergence of a wave of depression in society. Depression is not limited solely to the economic dimension. On the contrary, it is a complex phenomenon that affects the social structure, culture and psychological state of the country.
Nevertheless, this period has not been merely a time of darkness and disappointment. In the midst of the crisis, significant manifestations of human resilience and solidarity emerged. People showed mutual support, voluntary humanitarian networks were strengthened, and individuals demonstrated compassion for those in need. Additionally, the Greek art scene reacted to the crisis in a way that reflected the spirit of resistance. Artists, writers, and artistic groups created works that highlighted society's issues and sparked discussions and debates. Art played a role in rejuvenating people's psyches and initiating conversations about the country's future.
In every crisis, there is an opportunity for reconstruction and transformation. This project examines the period of depression in Greece during the crisis, while also analyzing how human resilience, solidarity, and art can play a significant role in addressing challenges and revitalizing society.
By gathering elements from the past and bringing them into the present, we weave together a modern tradition, celebrating the timeless beauty of our heritage. The performance explores and illuminates the simplicity and grace of tradition, as dancers and musicians come together in perfect harmony, each step and note building a mutual relationship.
The traditional dance steps inspire and ignite the movements of this performance, and the audience is invited to join in the celebration at the end, experiencing the magic of a traditional festivity.
Performance - Concept - Choreography: IIOANNIS KAROUNIS & Saltator Physical Dance Group (2012 - 2023)
As a performer and visual artist, my practice is deeply rooted in the exploration of visual performance art within public space, the creation of scenic-visual objects, and fostering citizen participation. Over the course of the last four years, I have honed my craft across both the Netherlands and Greece, continually evolving and refining my approach to art creation.
At the heart of my artistic endeavors lies the visual performance art series "SAND," which serves as a poignant response to the pressing challenges posed by climate change, particularly the imminent threat of rising sea levels. This multifaceted project operates along two primary axes: rigorous research and experimentation, and the practical implementation of findings within public spaces. Through "SAND," I aspire to catalyze meaningful conversations about environmental stewardship, encouraging active engagement and dialogue among citizens.
Each performance within the "SAND" series is meticulously crafted to offer audiences a transformative experience. By orchestrating a dynamic interplay between scenic elements and the physicality of performers, I aim to create immersive environments that transcend traditional artistic boundaries. Drawing upon my background as a contemporary dancer, I have seamlessly integrated movement and visual storytelling to convey powerful narratives that resonate deeply with viewers.
I would like to explore the intriguing concept of limit and its significance, particularly in denoting the boundary between the land and the sea beyond. I am also intrigued by the etymology of this word and how it has evolved over time. In the context of The Netherlands country, I find it particularly compelling to investigate how the inhabitants perceive climate change through the lens of the rising water levels. The symbolism of "sand" as the interface between land and sea serves as a powerful metaphor for the environmental changes we are witnessing.
One of the central aspects I find particularly compelling is to participate through the performance art in the debate about whether we have crossed the threshold of irreversible climate change, making the planet's livability an increasingly urgent concern. This investigation will add a crucial layer to our project's narrative, emphasizing the urgency of our collective response and our position as a society.
Every act has a cause and an effect. Through performance art, I do not intend to protest; I simply exist, and I reveal the conditions of my existence.
I do not separate life from creation, nor do I separate art from life.
Balance cannot be a form of protest, it is a state which, once achieved, you simply exist in it. An attempt to achieve balance is an exercise aiming to give us insight into the forces that formulate our existence.
The human passage through the urban landscape was necessary as it enabled the formulation of questions related the social aspect of our existence. On the other hand, I look for serenity even in the city, I support it, I claim it. It is a stance in a society that shouts and rushes to consume you and label you. It has always been like this.
I do not judge people on the basis of their attitudes or behaviours – I try to understand them, accept them, making space for them within me.
I believe in all the efforts that human beings make to believe in something, somehow. However, I do not associate faith with religion; they are dissimilar things. Religion explains everything in the name of God. Faith creates God.
An essential prerequisite for personal development is the comprehension and connection of travelling and stations. There is no station-free trip, just as there is no station without a traveller.
I liken life to a hyper chord that pulsates and is constantly reshaped at any moment without specific angles or bows and sides, a hyper chord that offers us no chance to measure it. This is the field that concerns me primarily – the non-stop reshaping taking place on all levels.
What remains is what is, and what has always been; I just perceive it now. The realisation of the significance and, at the same time, of the insignificance of my existence keeps me in balance. Whatever is inside is out there too, equally far and close, right and left, up and down, back and forth.
I bear responsibility for the acts of everyday life, conscious of the whole and of the future. I am a sensor of the universe and my actions are recorded and come back to me, not so much in the form of punishment or reward, but rather as the shaping of the trajectory of my own significant insignificant life.
At the heart of my artistic practice, I seek the essence of human existence. As I embark on this exploration, I search for the components of existence beyond the obvious constraints of time and visible space.
Time becomes elastic, as if contracting and expanding. Space transcends physical dimensions and extends into the realm of mental and emotional dynamics. In this timeless and spaceless field, the artist and the audience come together in a Foucauldian heterotopia that surpasses the restrictive boundaries of everyday life.
Through my art, I invite the audience to discover uncharted corners of the soul and mind, to transcend the confines of space and time, and to feel the connection to the eternal rhythm of existence.
Tunnel is a specially designed artistic space for pedestrian crossings where it serves as an ideal field for my artistic research and practice as a performer.
In places where movement is constant, and people pass by hurriedly, unique relationships develop. They are relationships that come about in the present, in the moment, and are fleeting, just like the passers-by themselves.
These relationships are ephemeral in nature. Often, they start with a gaze that invites negotiation, an exchange of steps, and suddenly you find yourself interacting with someone you didn't know just a few seconds before. It's like a scene that goes on to disappear into the past.
The random element is another key. You don't choose whom you meet. It's the random serendipitous convergence of time and place. It's the fact that you don't know who will be the next person on the street; still, you open up yourself to this uncertainty.
It's all happening so fast. These encounters don't last long. A conversation, a smile, and then paths diverge – it’s like an interesting, infinitesimal chapter in the voluminous book of everyday life.
Ephemeral, brief interactions in public space raise a series of questions that are worth examining. How do these moments affect societies? How do they shape relationships among citizens? Who determines the nature of interactions in public space settings, and in what manner?
In this context, public space transforms from a simple passageway to an area that hosts continuous interactions and intriguing encounters. Questions arise as to how these fleeting encounters affect social cohesion, public safety, and the local spatial culture. Additionally, what are the practices and policies that can shape these interactions for the better, promoting social integration and open dialogue in public space?
Finally, analyzing these ephemeral moments in public space prompts us to consider how these quotidian short-lived episodes affect: societal-level dynamics, cultural exchange, and community development. They are opportunities worth seizing to better understand the world around us and strengthen community cohesion and cultural citizenship.
In public space, the ephemeral, the random, and the fast are our companions. And in this unique, brief moment, we discover the richness of human interaction.
ENHANCING PERFORMATIVE CIVIC ENGAGEMENT IN MEANS OF PUBLIC TRANSPORTATION
Performative Artistic Research // Athens - Amsterdam
This performance is a depiction of humanity's ceaseless pursuit for authenticity and freedom, through a complex dance of power dynamics with the Other. What lies beneath the surface of this sadomasochistic relationship? What role do violence, social mimicry, and dependence play in the struggle for dominance in our inner public space?
Yet, another question arises: could this seemingly antagonistic relationship hold within it the seeds of convergence? If such elements exist, perhaps they could allow us to transcend the conditions that foster power imbalances, and attain reconciliation.
To coexist, we must communicate with one another, mindful that existence is ever-changing and fleeting. This dance of dominance and submission may seem perpetual, but it is within our power to shift the rhythm, to move towards a more harmonious melody, and ultimately, to reclaim our authentic selves.
Performance - Concept - Choreography: Ioannis Karounis - Hermes Malkotsis (2013 - 2023)
Performance Art and Public Space During the Years of the Pandemic (2020-2022)
How did the pandemic-induced restrictions affect the freedom of citizens to use public space for artistic expression and social activities?
How did our perceptions of public space change during the pandemic, and how did this change impact the freedom of creative expression?
What measures were taken to ensure safety in public space settings during the pandemic, and how did these measures affect the rights of citizens to participate in activities there?
How did art in public space respond to the restrictions imposed during this period, and who was granted special rights to have access to public space and stage art installations?
What is the role of public art in promoting open discussions and the exchange of ideas in a society facing challenges such as the pandemic?
The years 2020-2022 were a period when art and the pandemic intersected, triggering an inevitable dialogue between the pandemic and my artistic practice. Public space, which is the realm of social interaction and expression, was the locus of this dialogue.
The pandemic restricted my ability to meet with fellow artists and participate in indoor cultural spaces such as theatres, galleries, and museums. These limitations produced a void in my artistic activity, forcing me to explore new ways of articulating and presenting my work. Public space, which typically serves as a platform for artistic events and interventions, became even more significant as my fellow artists and I sought safe ways to revitalise band re-energise ourselves.
During this period, I creatively responded to the challenge of the pandemic. In public space settings, I staged art interventions that addressed social distancing and the need for safety. Furthermore, through my works, I highlighted the critical importance of social cohesion and interdependence.
Simultaneously, the pandemic emphasized the significance of public art as a means to encourage open dialogue and the exchange of ideas.
I am one of the countless commuters who travel through the bustling city of Athens every day. Boarding bus 15, I prepare myself for the long journey ahead. For eight hours, I am on board, passing through the heart of Athens, surrounded by strangers who remain unknown and anonymous. It's a vicious circle that I, and many others, find ourselves in day after day.
Despite the constant inflow of passengers, there is little opportunity for interaction or connection. The only hope for breaking through the monotony and anonymity is a potential accident or error that might cause the bus to halt, creating a chance for conversation to begin.
I, like so many others, yearn for a sense of community and connection in the midst of the constant movement and chaos of city life. But in a world where everyone is in a rush, with their faces lost in their own thoughts, it can be difficult to find those moments of connection.
As the bus continues its journey through Athens, I remain lost in thought, wondering when, or if, I will have the opportunity to connect with the people around me. But for now, I remain a stranger, just another face in the crowd, a part of the endless cycle of commuters that go about the city every day.
