Georgiana and the Dragon, dgtl fmnsm 2018, Hellerau, Dresden / The Love & Sex(bot) Show, Squeaky Wheel Film & Media Art Center, Buffalo, New York
untitled (questions in a toxic world of blue)
A femme peasant production
A performance for the camera, commissioned by shawné michaelain holloway and Konstanze Schütze for dgtl-fmnsm festival in Dresden.
Untucked
Inkjet print, wheat paste, 1.40 x 2.10 cm, 2017
Commissioned by DaDa Da Academy for the group exhibition present at ifac, Athens.
art success
Digital video, 2016
chop some d
A femme peasant production
Excerpt from a performance piece presented under various titles in various events in 2016; most notably in Cabaret der Künstler - Zunfthaus Voltaire during Manifesta 11 in Zürich and CODE art fair (where this video is taken from) in Copenhagen.
Watch with subs.
Performance commissioned by El Palomar and Fundació Joan Miró for Hedonismo Crítico - Reinvención y reivindicación Festival, in Barcelona.
Act 1: Singing Lana Del Rey's demo "Criminals Run the World" acapella. Act 2: Performing a made-up medieval song-dance about the queer artists precariat while sucking on popsicles made of fake blood. Act 3: Covering Nadeea Volianova's hit song "Fuck me Daddy".
Review of the festival by Marta Echaves
Some pictures atEl Palomar's facebook page
Deep4U exhibition at Dresden's S T O R E as:
JENS CHAN, SVEA HOLLOWAY, GÖRAN JACOTEY, PAPPA MODIG
A is for Anarchy Agenda
Greetings from Below. We made Nordic names to appear more white, more assimilated, more stylized like IKEA furniture tags. It was only natural this would be the next step to fame and excellence. We were tired of the powerlessness of creating, then critiquing culture. Artists might as well be artisans or court jesters, or even better, digital prophets and trend forecasters. We needed a change of life Style, and this would be activated by an inaugural Scandinavian name change. Race and ethnicity are social construct anyway. It's the thought that counts. Even society is a social construct!
Intellectuals call what we have "social capital", but we know, at best, it's just a fine balance of showmanship and passion. Realizing we were failures at climbing the social ladder, we stayed up late reading guides on how to become dismissive and charming, high functioning sociopaths. We gave each other papercuts, stole from stores, lied and cheated to our loved ones and talked shit about our enemies. We knew whatever we were doing was going to be a drop in the ocean. Phrased the right way, anything can be easily painted as a disaster. And there's tons of money to be made from disaster. This was is just one of a million emergencies–the quest for productive mediocrity. We are Russian metro dogs on the run, sniffing our way through the city, while taller humans look on with disgust and amusement. Disgruntled and powerless young folk turn into old men yelling at clouds.
Gen Y's growing pains are slowing down the economy. No one wants to work harder for less money. No one wants to undersell for professional titles and sexy results. Entitled, overeducated, ambitious, competitive, ingrateful, idealistic, class-fluid, MacBook-touting imbeciles. Too inexperienced with life to make any insightful statements. How to appease our young and upcoming minds after the crisis of capitalism? You're looking for freedom; I'm looking at money.
Full story at hotnewworldviews.com
Review by Chloe O'Neill at Rhizome
Fanfiction reading commissioned by Atopos CVC for blahblahblah, in Athens.
"There’s no “I”, I resolved to, trying to tackle inner issues regarding talent and depth of emotion. The freedom of expressing myself, without arrogance, and all of its dangers… There’s no “I” and yet, I had to remind myself to make no effort to impress you. There’s no “I”, there’s no “I”, obviously… but not as there’s no “me”. More like there’s not a singular “me”, though some times, not even enough of “me”. Anyways, what does it matter; the conventions won’t melt any time soon."
Read the complete story at Archive of Our Own Also, make sure to read my other Lana fanfic Lana De Grèce
Gif of the Day: Jana at artfcity.com
Group exhibition curated by Georges Jacotey at Fokidos, in Athens.
Click title for more information and documentation.
Includes the works of artists: Hannah Black, Enrico Boccioletti, Jennifer Chan, Jesse Darling, echo+seashell, Cédric Fargues, Zoe Giabouldaki, Caspar Heinemann, Valentinas Klimašauskas, William McBride, Kimmo Modig, Petros Moris, Peristeri On, Filip Olszewski, Mathew Parkin, Tristan Stevens, Valinia Svoronou & Olga Papadimitriou, Saoirse Wall.
Pictured above: Kimmo Modig's Greetings From The North and detail from Tristan Stevens's Home is Where the Heart is.
Other / past curatorial projects include Exciting Virtuals and facebook's #0000FF gallery.
Song and video collaboration with Kimmo Modig for our duo show at Sorbus gallery in Helsinki.
INT. Sorbus Gallery - DUSK
KIMMO and GEORGES both lie on the floor, crying to their respective microphones that are connected to their headphones. SORBUS CREW MEMBERS (SCM) stroll between the back room and the exhibition space. SCM try to talk with each other, but the loud crying drowns out all other sounds. KYLIE enters, wearing a long white gown.
KYLIE: Yassas bitches!
GEORGES and KIMMO stop crying. KYLIE’s voice reverberates around the room for a long time. Everyone is silent. KIMMO and GEORGES help each other get up from the checkered floor.
K/G: (say something clever to Kylie, an art world reference perhaps)
KYLIE: Who cares what you know? Show em, Sorbus!
SCM start to dance in unison, moving back and forth between the two rooms, in resemblance to Kylie Minogue’s music video “I Was Gonna Cancel”.
KYLIE begins to inflate, her body taking up the whole room, forcing SCM, GEORGES and KIMMO to the corners of the exhibition space. KYLIE breaks through the ceiling, all the way up to the dark Helsinki sky.
DRAKE EX MACHINA enters, looking very depressed, walks slowly to the center of the room, picks up a mirror and looks at it, kicking a dog aside.
DRAKE EX MACHINA: If you’re reading this it’s too late.
DRAKE EX MACHINA nods to GEORGES and KIMMO, puts music on.
The dog barks.
More pictures at Sorbus flickr
Performance commissioned for I Thought You Were The Real Thing exhibition in Romantso, in Athens.
Some documentation images at my tumblr
Video documentation was taken down on copyright grounds. If you're that eager to watch email me.
Story duplicate, alternative link at Archive of Our Own
Deep 4 U collaboration w/ Kimmo Modig, shawné michaelain holloway and Jennifer Chan. A video commissioned by Kimmo as a sequel to his video The Biggie Smalls Lessons, part I and edited by Jennifer, in which shawné and I are rapping to Kimmo’s cover of "I’ll be Missing You" about art history (not quite) and (basically) love life.
"The last performance art piece ever to be witnessed in Athens" with Kimmo Modig, staged and performed at FROWN in Athens.
"G and K will do the last performance art piece of Athens. After this, it’d feel pointless to stage another one.
When G and K figure out how to do something, they stop doing it. Perfection and craftmanship both mean nothing to G and K.
G and K don’t care about ideas, either. That’s a whole different generation, many decades ago, who did that.G and K do not want to bore you with ugly conceptual pieces.
The artistic practice of G and K is not performance-based. It’s “moving on”. Since that is what G and K do.
G and K like something and then they don’t. There are no idols or artists or values held in high regard forever.
Tomorrow, G and K might not even be into moving on anymore. The next time Georges sees Kimmo, Kimmo might be passé.
G and K are lone wolves who travel in groups only when traveling in groups is the next cool thing.
“We’re the worst”, G and K thought at first. But no. Artists with moral principles are the worst.
Art is immoral. There are so many other things one can do, like to have sex, take drugs, play with Xbox One, cook with friends, work for charity, help your grandmother.
You really only need to understand this part: when you choose to come and see G and K performing, you’re not doing any of those things."
Project collaboration with ZINO Projects, culminating in website, live performance and video performance.
"Son of a Patriarch is an ongoing process developing into a performance and internet art work that blends gender identities, dominant gender representations and mannerisms, popular culture, desires, fear, anxiety, humour. The title is a wordplay on the expression “son of a bitch”, – similar expressions of which can be found in other languages eg. “hijo de puta” in Spanish, “πουτάνας γιέ” (pr. poutanas yie) in Greek (both these expressions mean “son of a whore” but they are used to the same effect). These expressions always include a feminine noun that carries a derogatory meaning paired with the word for son. So, who/what is a patriarch? How do we recognise them? What are their characteristics? Breaking down the word itself it is about a male figure who is a leader. Is it the most male word there is? What does it mean to be a man? Not being a woman?"
Excerpt from curatorial statement by Zoe Charaktinou.
sth I never intended confessing to u
Commissioned skype-performance for Antagon projected live at Sorbus gallery in Helsinki.
"It's you. You. Headless and ripped, recurrent within a pattern of self-determination. The radar indicates an endless loop of your aligned copies, anagrams of your name, from the closest to the farthest. I cannot escape from you."
Performance inspired by the paradoxical attachment to "masculine" attitudes and masculinism, the hurtfull vernacular in gay dating websites and the internalized homophobia in white, male, gay communities.
Act 1: Singing alongside Chet Baker's "When I Fall in Love". Act 2: Jumping rope while reciting masc2masc gay dating profiles. Act 3: Dancing to a Janet Jackson's remix of "Someone to Call my Lover".
Commissioned for the opening of the Transparency of Sex exhibition in Amfissa, Greece.
2night Im gonna cum 4u (see my face as I cum 4u internet)
Online performance at Cam4.com.
"2night Im gonna cum 4u (see my face as I cum for you internet) is a half-hour long, live striptease of sorts broadcast on the amateur web-cam exhibitionist platform Cam4, and documented as a video. In it, we see Jacotey alone in an interior—dancing to European techno, R&B, and hip-hop, then drawing on top of his projected image, and finally masturbating himself until a climax when we see only a close-up of his rapt face, and the ecstatic drop of his webcam, as he apparently loses control of his image. Jacotey has characterized the work as one of many projections of identity made possible by the Internet, and it is evocative of widespread millennial-generation explorations of the self within digital networks."
Excerpt from Queer Technologies of the Selfie: Radical Self-Imaging in the Online Performances of Ann Hirsch and Georges Jacotey by Mikhel Proulx.
Georges Jacotey ♡ 2018