2013 | crete, greece
ARIADNE ONANISM / … The blanching of ariadne is visible… in her new-age animal regression living on harvest and masturbation she seems in peace… asleep… in featherbrained ataraxy…anthroposophic and physiological exchanges with the machine for only agenda…while daedalus the alchemist is savoring his dejections metabolized in simple chemical constituent… in spiralized choreographies… in the pursuit of his opera… psychotic…
SCREENINGS: Venice Biennale 2013. Chicago Biennial 2015. TARS Gallery Bkk 2015.
CREDITS: from a concept by M4, Camille Lacadee & Francois Roche, with Danielle Willems, Lydia Kallipoliti, Ezio Blasetti, Stephan Henrich, Andreas Theodoris, Luis Felipe Paris, Johnny Boquet-Boone, Cecil Barnes, Danielle Griffo, Hasti Valipour Goudarzi, Gary Edwards, Martin Lodman, Maximiliam Lauter, Melodie Yashar, Shalini Amin, Pierre Bourdareau, George Avramides, George Louras, Jonathan Requillo, Raquel Sanchis Ulacia, Robinson Strong, Kim Se Hyun, Lorenzo Villaggi, Leonidas Leonidou; Partners/ Columbia University [GSAPP, Graduate School of Architecture, Planning and Preservation], ΣΑΔΑΣ ΠΕΑ- Τμήμα Χανίων, ‘Eνωση Ξενοδόχων Νομού Χανίων, Οικονομικό Επιμελητήριο Ελλάδος-Τμήμα Δυτικής Κρήτης, Περιφέρεια Κρήτης- Περιφεριακή Ενότητα Χανίων, Πνευματικό Κέντρο Χανίων, 28η Εφορεία Βυζαντινών Αρχαιοτήτων, Περιφερειακό Ταμείο Ανάπτυξης Κρήτης Sponsors/ ANEK Lines, INKA, ΕΤΑΝΑΠ, ΒΙΟΧΥΜ ΑΕ, Αμπελώνες ΚΑΡΑΒΙΤΑΚΗ, Special Thanks to Roula, Soula and Yorgos
NAXOS – TERRA INSOLA (ARIADNE ONANISM)
Once again Daedalus stroke with his technocide genius…It was not enough to have created the monster Minotaur through the trickery of a cow in heat in a mythological zoophilic orgy…Not enough to enslave the bestial child in a labyrinthine corridor and then get him killed by giving the thread to the beast’ sister Ariadne…It was not enough, in his technicist grail quest to sacrifice his own son with solar-melting glue… Not enough to imagine the last deadly bath of Minos… In this opus Daedalus offers us his last incarnation of Ariadne Alone on Naxos… she is between two states…Disembarked… dumped on the island by the mas-macho testosteroned Theseus… killer of her Taurus half-brother… Waiting for Dionysius the alcoholic to turn her into a multi-procreative uterus… Ariadne is alone… alone with Daedalus, the eponymous abstruse useless apparatus in endless entropic self-obsessed growth… The blanching of Ariadne is visible… in her new-age animal regression living on harvest and masturbationShe seems in peace… asleep… in featherbrained ataraxy…Anthroposophic and physiological exchanges with the machine for only agenda…While Daedalus the alchemist is savoring his dejections metabolized in simple chemical constituent… in spiralized choreographies… In the pursuit of his opera… psychotic…
Terra Insola is a collective enterprise of scientific storytellers, speculative archeologists, regenerative engineering, deviant-mythologists and dirty-physiologist exploring the mythic figure of Ariadne as an archetype of a modern feminist, living within a suspended time between two stages of her life, in the time between her relationships with Theseus to Dionysus, between the macho-man and the alcoholic. She is bound by a daytime routine and her perpetual commitment to a machine, releasing herself from all constraints and achieving self-sufficiency. In desexualizing her innate nature she reaches a degree of serenity and ‘ataraxy’. She lives in an idyllic biotope without context or reference, extracting fluid sap from the eucalyptus tree that sustains her nourishment in an anthroposophic exchange, and mixes her physiological substances (such as urine) with the earth that surrounds her to secrete ceramic for the structure that shelters and interlaces her. The structure itself is a metaphor of an endlessness creation, an architectural process that emerges within an infinite loop. The myriad of spiraling mazes and glazed clay components that wrap her body and her mind are developed by and with a machine tamed and domesticated by Ariadne to extend her desires and construct her needs in a reflexive, affective and contingent agenda. La “Demoiselle”, the nickname she gave to her “productive” pet seems to engage an intertwined, co-dependent relationship that emerges from sympathy to empathy. Ariadne is a woman divided by the pathology of multiple personality disorder, haunted by the echoes of her mythic past and her involuntary landing within the Schengen trap. When she lands, the barrier of Schengen was already since a long time considered as a fortress. Nobody remember exactly when this fence became for European citizen their own jail… inversing the preliminary reason of its constitution, to protect them against the world… but appearing contradictorily as an historical illusion.In this a political and ideological island, Ariadne appeared with two identities, the one who escapes from inside, embracing with her friendly “Demoiselle” a topological inversion, as an infinite fortressless animism, to protest emotionally against the contradiction, the absurdity of the situation, and the other trapped in a postindustrial location, crossing zombified human hostage of alienated Fordism tasks rhythmed by mute, dumb machinism. Chania-Naxos becomes the location of Ariadne’s own schizophrenia simultaneously releasing and congealing herself from her state of limbo. The Location of the event is an existing “fortress” in Chania, an abandoned Venetian walled zone of 15 meters high in the middle of the city, inaccessible… Ariadne takes refuge inside this no man’s land, ignored by the people living around… there, she could re-invent, as an utopia the routine of her freedom…but just in the middle of the European Union “Protectorate”.