ONASSIS AiR 2 3 Contents 4 Onassis AiR Overview 6 Onassis AiR - PDF document

1 ONASSIS AiR

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3 Contents 4 Onassis AiR Overview 6 Onassis AiR Strands 8 Program Principles 11 DNA 15 The Critical Practices Program 27 Residency Program 32 Exchange Residencies 39 Emergency Fellowships 43 Public Events 47 Collaborations 53 Space 56 Team

4 Onassis AiR Overview Onassis AiR - the (inter)national artistic research and residency program in Athens (Greece) has been established by the Onassis Foundation in 2018, under the auspices of the Onassis Culture pillar focused on process, encounters, the public space and its commons. Onassis AiR is a year-round program, located in the urban centre of Athens, that grounds its mission in commitment to supporting artistic process, towards a less product- obsessed arts ecosystem. Onassis AiR supports: Greek and international artists, curators, and thinkers working in time-based * artistic disciplines, who wish to deepen, reconsider, or transform their practice or methodology, without expectations and constraints of the production frenzy.

5 Onassis AiR , the program and its space, creates an ever growing community of participants. A place where all the participants can interact with each other as peers. Regardless of age or how accomplished they are. To work and think and eat together as a community that does not strive for the next project, the next premiere, the next opening. A community of individual artists and thinkers working in time-based mediums, on individual and collective artistic research projects. A community and space that is very much local. A community that has the ability to pause, to rethink how each one of us functions and creates. A space that offers time. Time to learn, to change, or go deeper, by doing and undoing or non-doing. Onassis AiR principles: time-based, in-flux, local, (inter)national, DIWO (do-it-with-others), self- learning, no gurus, “the doer decides”. * Time-based art is an artistic medium dealing with the complex multiplicity of artistic forms which use the passage of and the manipulation of time as the essential element within creation of a contemporary work of art (be it performing arts, contemporary art, media or installation art, etc.). The term time-based art was first introduced by UK video art pioneer David Hall in 1972 through his writings in various publications including Studio International.

6 Onassis AiR Strands Onassis AiR Critical Onassis AiR Practices Program (inter)national Curator is a full-time, 3-month encounter of & Artist-in-Residence 5 practitioners living and working Program in Greece. It is for those who are is a one-month, individual artistic in-flux, who are going through research residency for international rupture, for those practitioners who and Greek artists, living in Greece or are experiencing a shift within their abroad. This strand is for any artist individual artistic or creative trajectory. or curator or other creative and curious The program is designed as a collective practitioner (time-based practice) artistic research community of time- who has a concrete artistic research based professionals (visual artists, question or project they would like to choreographers, theatre and film take further. Regardless of experience directors, composers, performers, level, but assuming that each curators, producers, designers, writers, participant has an existing individual cultural theorists, and other curious practice at the time of the application. minds).

7 Onassis AiR Onassis AiR Exchange Residencies Emergency Fellowships are individual artistic research are the most reactive and tailor- residencies, varying in duration and made strand of Onassis AiR program. scope, taking place at one of our Emergency Fellowships are intended for collaborating institutions, outside of international and local artists, curators, Greece. Exchange Residencies are and other practitioners. Emergency intended for artists living and working Fellowships are meant to be a stimulus in Greece within time-based practices: to artists and curators who have artists, makers, designers, theorists, a unique, unanticipated, and very time- curators, and other curious minds who sensitive need. would benefit from participating in one of the collaborating programs around the world.

8 Program Principles What if we could DO six Why another residency impossible things before program? breakfast? Why in Athens? What if we took the What purpose and need artistic practice, the will it address? craft, the process of creating, the process Why would a Greek artist of research, each need this program? individual trajectory that artists, and other curious Or an Argentinian minds, go through day choreographer? in and day out, as the starting point towards Or what need does this a less product obsessed program add within the arts policy? broader international artistic landscape? What if we refused the precarity of our arts And how does this institutions? program tackle the very precarious, and widely What if artists and accepted standard, curators could take of the project-based* time to reconsider economy? their practice without expectations and constraints of the production frenzy? So why artistic research?

9 To start with, the Onassis AiR program and the resources it will offer, will hopefully create a community. A place where all the participants can interact with each other as peers. Regardless of age or how accomplished they are. To work and think and eat together as a community that does not strive for the next project, the next premiere, the next product. A community and space that is very much local. A community that has the ability to pause, to rethink how each one of us functions and creates. A space that offers time. Time to learn, to change, or go deeper, by doing and undoing or non-doing. * Bojana Kunst in her essay “On upon the future. The word - project - also Projects” proposes that “a project implies completion. So in the end what always denominates a temporal attitude always arises is a completion of already or temporal mode, where the completion projected possibilities. However the new is already implied in the projected future. start is not about differences but about A significant amount of what artists and another promise for the future. Another cultural workers do today seems to be indebted engagement to that which has caught up in this unaddressed and never yet to come.” approached ‘projective time’. Over the course of this ‘projective time’ artists are expected to successfully negotiate both realized and unrealized projects in addition to projecting new imaginaries

10 “I daresay you haven’t had much practice,” said the Queen. “When I was your age, I always did it for half-an-hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.” Lewis Carroll

11 DNA

12 12 DNA ● Time-based: this program is for artists and curators who work with time-based mediums. ● In-fmux: this program (and specifjcally the Critical Practices Program) is for artists and curators with an existing professional practice, who are going through a shift, who are in-fmux , and those who look to redefjne how they work or create. ● Local: this program is very much rooted in the city of Athens and all the contradictions, beauty, tempo and light that it ofgers. ● (Inter)national: this program is for artists and curators who live in Greece & international artists, regardless of their nationality. ● DIWO: this program prefers to avoid the ethos of DIY (do-it-yourself) and instead embraces the logic of DIWO (do-it-with-others). All participants must have an interest of working and thinking and being with others (peers), and are willing to connect and engage socially within the diverse communities of Athens. ● Self-learning: this program is not educational, but is based on the principles of self-learning and learning-by-doing. ● No gurus: this program will not have teachers or master-classes or students - instead it is based on peers who all have their individual craft and methodologies and questions, and who share such concerns and questions with each other without