Evangelia Basdekis
Born in Athens 1972 (Greece)
Contact Details:
evbasdeki@yahoo.com
www.basdekis.com
Studies:
2005-2006: Mentoring Scheme with Franko B
2003: M.A. of Fine Art (with distinction) University of Lincoln (U.K.),
2002: B.A. of Fine Art (Honours) De Montfort University Lincoln (U.K.)
solo show:
2004: AD Gallery, (Athens Greece)
2003: Public Performance I, (Lincoln, U.K.),
Public Performance II, (Lincoln U.K.),
Group Show:
2006: Politics in Greek Art, AD Gallery Athens (Greece),Quaranti Platforma Instabul (Turkey), Gender, 5th Human's Right Art Festival Athens (Greece),
2005:EXPO 05, National live art festival,Nottingham (UK),Olfactopelaforma, festival Mau 05(Faro Portugal ),Tokyo Launch 05 Fiesta (dvd folio), ‘Feat ars - pereat mundus’,(Group Cartel) An on going project with posters (in the centre of Athens, Greece),
‘Common Place’ Group Show in Theatre Epi Kolono (Athens Greece), Video Art festival Miden (kalamata, Greece)
7 Performance + 1 Discussion Live Performances in the heart of Athens,Group locus Athens (Greece),
‘Art Athina 05’Gallery AD (Greece)
2004: ‘The other body’ -4th Human Rights Arts Festival Eugenides Foundation (Athens Greece),
“Suffering Body” Group show Nees Morfes Gallery (Athens Greece),
2nd Biennale of Tel Aviv Videozone 2, (Israel), project ‘Twist’ curator Katerina Gregos,
2003: Group show Greestone University’s Gallery (Lincoln U.K.)
2002: Group show Greestone University’s Gallery (Lincoln U.K.)
Talks/Lectures:
2005: Talk on Live Art Events (7 Performances +1 Discussion), (Athens Greece),
2004: Presentation/talk on my work (Academy of fine Art, Thessaloniki Greece),
Talk /presentation on my work (Centre of culture Athens, Greece)
Curating of the action/demonstration: ‘Feat ars-pereat mundus’ (group cARTel)
Feedback
Is it possible for a work of art to upset the establishment?
My research based on those questions that are raised by the position of the artists in contemporary society, their part in it and the power of their work regarding their audience. In order to examine the relationship between the audience and the artist I looked for the artist part in connection to that of the clown!
The strength of the part they play as judge/commentators of society is placed under dispute since both appear as licensed persons!
The transgressive artist, like the clown, 'plays a number of roles: voice of conscience, social commentator and truth teller'.
Society 'demands' and 'expects' such an artist to touch the bizzare, to step over the limits, to be obscene, blasphemous, even idiotic in his efforts to express his ideas.
Such artists avail themselves of a fool's priviledges, their behaviour is found to be 'on the edge', their art characterised by an extremism of action and emotion that threatens good taste, political order and reason itself.
But what is the quality of the audience's involvement in this 'going beyond'?
It is this very audience that at the same time experiences the event as a show?
The differentiation from the artist, the taboo-breaker, the madman and from the clown is immediate. Their whole participation looks like the one during the carnival where all the transgressions and exaggerations are possible but after it ends nothing has really changed.
Authority appears stronger and 'necessary' since the search for safety of those taboos comes back 'en force'
References:
Simpson, R. (1999)
Let's explore King Lear, W Shakespeare, london, Lett's explore Literature Guide
Julius, A. (2002),
Transgressions, the offences of the Art, London, Thames & Hudson.
Zucker, M. (04/02/2003),
The Clown As the Lord of Disorder. Available from http://theologytoday.ptsem.edu/search/display-page.asp?Path=/oct1967/v24-3-article4.htm
Warren, R. (1998),
King Lear, W. Shakespeare, London, Lett's explore Literature Guide
Gelder, K. Thorton, S. (1997),
The subcultures Reader, London, Routledge.
Robbins, R. (2000)
York Notes Advanced, Nights at the Circus, Angela Carter, London, York Press |
