“Meta + Residencies” , Pecha Kucha Night ( PKN ) Performance, happened in the Hotel Ariston, curator: Thouli Mysiroglou, in parallel with the 15th Biennale of Youngs Artists from Europe & the Meditterranean “Symbiosis?”, 2011, Thessaloniki (Greece).

Below is the presentation delivered on “Pecha Kucha Night” (PKN) on November 1st, 2011at the Hotel “Ariston” in Thessaloniki. PKN was held within the context of the “Symbiosis?“ Exhibition curated by Ms. Thouli Mysiroglou in parallel with the 15th Biennale of Young Artists from Europe and the Mediterranean co-hosted in this city.

M   E   T   A   +    R   E   S   I   D   E   N   C   I   E   S

Photograp 1: Good evening! I am Dimitris Ameladiotis and I am an visual artist. The topic 0f this presentation is : What are the conditions that formulate the questions which determine the materials used in a spontaneous event at an art residency program; whether these are found at the site or have been brought there? This is an issue that has arisen from my own personal experiences of participating in various art residency meeting over the last two years.

Photograph 2: The aim of this presentation is not to form a complete answer to this issue but to make each member of the audience reflect individually. Besides, the allotted time is not sufficient to go into precise details. I am simply alluding to it. I hope the sequence of the photos will help. They have been selected from my personal file.

Photograph 3: An improvised art residency program is when an unplanned, informal gathering of artists and / or cultural representatives takes place in a particular space and an in situ process of creative expression arises. Usually, these meetings occur within the context of an already organized art residency program or conference on art.

Photograph 4: The way the artwork is created, is what is refered to when we talk about the in situ artistic expression. In other words, it is the on – the- spot, the “here and now” , creation of the work that has taken into account the de facto characteristics of the space where it is found and exhibited.

Photograph 5: In this case, the artist accepts the characteristics of the space they find themselves randomly in as a de facto situation, taking in account factors such as: the architectural design, the spatial layout, proprietorship, the objects, furniture, materials and anything else found there. If the artist creates in a natural enviroment, they are obliged to preserve it as is.

Photograph 6: In addition, the artist is open minded, accepting and understang of the people who live or work in this space, while at the same time, is respectful og the objects or materials that the owners claim to be personal or useful. Artists should acknowledge that by being given the opportunity to act informally and spontaneously a favour has been done them.

Photograph 7: Since these events are usually not programmed, it is most likely that the artists do not have with them the needed materials and as a consequence must use the materials available on the site or, if the time permits, they may use materials they find elsewhere nearby.

Photograph 8: It would be good if the artist could put aside any personal work they may have in mind and to see the improvisation in an art residency as an opportunity to explore  new areas related to art or even to re-examine their pespectives and to experiment with new tools and techniques.

Photograph 9: An original improvised artwork is necessarily defined by the time limit, the rules of hospitality, perhaps inadequate supplies, and the ephemeral materials, which however, are needed for the spontaneity of the event.

Photograph 10: Often using ephemeral materials in a fragile synthesis, the artist should be aware that the work will exist but for a short time and that once this informal activity is over, the work could very well disappear.

Photograrh 11: The aim of these improvised events, is not to create an artwork that will become a part of some collection or other: but the individual’s interaction with others, and the satisfaction of participating in an active, experiential and creative encounter.

Photograph 12: Of course, beyond one’s personal or collective pleasure, another valid question that arises is: How many different materials can be attached, combined, fused, compressed together to create abstract stories and situations.

Photograph 13: Other issues that can arise are, firstly how the artist can define their personal field of creative activity respecting their surroundings. More specifically, the way that an artist can set up an impromptu studio in nature based on the materials that are available.

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Photograph 14: And secoondly, how the various tools, materials, and objects can be used to present a theatre performance, a concert, a sound installation, as well as the making of a video installation or a documentary.

Photograph 15: One such case is Yannick Frank  (visual artist, musician and sound artist ), who organizes his concerts and happenings using a combination of objects which he finds on the site with those he brings with him, in order to make improvised sound installations and to experiment live with various sounds, noises and alternative music forms.

Photograph 16: I have personally met this artistin an improvised residency program at ” Nexus Machine Shop & Gallery ” that was informally held  in April 2011 within the context of the  2nd Transcultural Exchange Conference of Art Residencies Programs on International Opportunities in the Arts in Boston.

P cre trder e hotograph 17: The ” Nexus Machine Shop & Gallerry ” is an informal museum of Technology in Boston. Its owner; William ” Nexus ” Stephens, a retired machinist and artist invites participants to his former business and current home in order to create artworks with the various objects that he has collected over the past fifty years. Weare talking about the ultimate messy house!

Photograph 18: The one basic condition set is that ephemeral art is created so that after the resident artists depart, the works can be dismantled and the materials used by William for his own works.

Photograph 19: Nevertheless, if he takes a liking to you, he lets you exhibit your work for a short period in an empty space nearby. This enables the artist to examine in an empty space ( i.e. uncluttered) how the objects that comprise the artwork function.

Photograph 20: Under these conditions of limited space, limited time, propirietorship, and either an abundance or a lack of materials, it is only natural that the question arises as to how to execute the actual plastic arts process with the least possible hand manipulation, and at the same time, to redefine what these objects mean with minimal thought.

• Pecha Kucha Night ( PKN ) , 15th Biennale of Young Artists from Europe & the Mediterranean, Hotel Ariston, 2011, Thessaloniki.

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