News

Honoured to participate in the Gwangju Biennale– with a new work – “Forty-one new works have been commissioned to help develop the theme of ‘Minds Rising, Spirits Turning’.”- 
Minds Rising, Spirits Tuning: 13th Gwangju Biennale

February 26–May 9, 2021 

Opening Date: February 26 

“Whatever it is, coronavirus has made the mighty kneel and brought the world to a halt like nothing else could. Our minds are still racing back and forth, longing for a return to “normality”, trying to stitch our future to our past and refusing to acknowledge the rupture. But the rupture exists.” – Arundhati Roy 

The Artistic Directors of the 13th Gwangju Biennale, Defne Ayas and Natasha Ginwala, today announce further details of their plans for the forthcoming edition of the Biennale, Minds Rising, Spirits Tuning. Having launched the editorial platform of the Biennale, “Minds Rising”, and the online public programme with the forum GB Talks |Rising to the Surface: Practicing Solidarity Futures, Ayas and Ginwala are now pleased to announce 69 participating artists, 41 new commissions, and the Biennale exhibition venues in Gwangju, Korea. The exhibition delves into a broad set of cosmologies, activating multitudinous forms of intelligence, planetary life-systems, and modes of communal survival as they contend with the future horizon of cognitive capitalism, algorithmic violence and planetary imperialisms. 

Speaking of the selected participants, Ayas and Ginwala noted: “So as to engender and invoke channels of affiliation, solidarity, friendship and renewal, both in South Korea, which has demonstrated her resilience during this pandemic, as well as globally, we are keen to show our commitment to artistic practices that enable mutating, itinerant, hybrid, and at times undisciplined alliances. As such, we are committed to artists with mind-expanding and ever-inclusive practices, those that act beyond the binary framings of insider and outsider, legal and illegal, masculine and feminine, that are each invested in interdisciplinary frameworks traversing ancestral knowledge, augmented intelligence, and healing systems. Theirs are active references and experiences that are locally relevant while being connected to our shared planetary conditions today, transcending generations and geopolitics. We are grateful to each of them for their responsive approaches.” 

Partnership with Historical Collections: 

Minds Rising, Spirits Tuning stages an inquiry into the ritual systems of Korean Shamanism, especially the role of female shamans encountering and healing communal trauma, patriarchal violence and illness. Modes of kinship are figured not only between humans but also with the “beyond human” world(s), and moreover amid landscape ecologies of the Korean peninsula. These visual registrations are assembled through ceremonial amulets, hand illustrated manuals, folding screen paintings and artefacts from the collections of The Museum of Shamanism and The Gahoe Museum of Folk Painting in Seoul. 

We ask how these modes of intelligence addressing the cleansing of energies, protection of the ailing body, and forces of renewal toward frayed and toxic relations may be harnessed through these sacred and ancestral forms of representation, beyond their surface readings as an aesthetic practice. Further, through a selection of manuscripts and paintings from the Wellcome Collection (London) mappings are projected of the diseased body and personified organs, from a Tibetan bloodletting chart to the lord of death, from Hindu cosmology, Yama holding the wheel of life. The Biennale integrates these broader cultural ontologies of health and systems of cure throughout the gradient of life and death. 

Participating Biennale Venues: 

Gwangju Biennale Exhibition Hall, Gwangju National Museum, Gwangju Theater, Yangnim mountain – Horanggasy Artpolygon 

Gwangju Biennale Exhibition Hall 

The exhibition brings together key figures from the contemporary cultural community in South Korea as well as visual artists who have featured prominently in its past, in order to draw upon the historic and existing artistic milieu. Engaging with the unfinished histories and suppressed chronicles in the Korean context seminal practitioners such as prolific painter Min Joung-Ki, photographer Gap-Chul Lee, and interdisciplinary artists Moon Kyungwon and Sangdon Kim assume a significant presence within the Gwangju Biennale Exhibition Hall. The ground floor gallery is envisioned as a space free to access to the public, with the new codes of proximity and gathering in mind, and featuring several new commissions by artists as well as archival and historical loans from the Shamanism Museum Collection and Gahoe Museum, with major collections on Korean Shamanism and folk painting on view. The works on view conjure sensorial entryways into the present while also inviting audiences into glimpses of commemorative aesthetics and sacred emblems of protection and recovery, as well as the groundwork of collective intelligence in a networked society. 

Gwangju National Museum 

The exhibition here unveils a dialogue with conceptions of death and the afterlife, reparation of spirit-objects, corporeal limits of the body as well as acts of mourning through newly commissioned works by Theo Eshetu, Trajal Harrell, Gala Porras-Kim, and Cecilia Vicuña. From the ephemeral aura of a flower mandala by Chrysanne Stathacos to the loneliness of a desert necropolis by Ali Cherri, artistic and historical works will attune to linkages of ancestry, visions of the afterlife, non-western mappings of ailment and cure, and the foundational role of the undead in shaping registers of “the real” across the world(s) of the living. 

Minds Rising, Spirits Tuning: 13th Gwangju Biennale Press here –
1-900 Mirror Mirror

1-900 Mirror Mirror – 1993-2020

Pleased to share this review by Parker Kay on “There Are More Than Four” in Cornelia
“1-900 Mirror Mirror ” 1993-2020n is in “There Are More Than Four”
curated by Jacob Korczynski  at Cooper Cole Gallery, Toronto.
I first presented 1-900 Mirror Mirror in 1993 at Andrea Rosen Gallery, New York, at the height of the AIDS pandemic. I remember oceans of tears merged with snowstorms as I traveled between New York City and Toronto. Our friends and partners were dying. 1-900-Mirror Mirror confronted viewers with their own image in my infinity chamber, connecting me with the viewer by video phone as I sat in my Little Italy apartment with my tarot cards. What would they ask?  What would I answer as I picked a card? I hoped to create a transformative experience, hope and healing unfolding within the never-ending vision of one’s self, seen through my hand-printed roses, ivy, and hair. Now, during another pandemic, the work will again be interactive, but online.

Robert Flack and I used to read tarot together often back then, doing rituals with oils, candles, sage and secret objects on an Indian bed spread on the roof of my New York studio on Centre Street.  I have found a copy of the deck he used – The Tantric Dakini Oracle – which I will use now, thinking of him. 

Robert Flack died in October,1993, a few months before the opening of 1-900-Mirror Mirror.  Jorge Zontal of General Idea left us a few weeks after the project ended.    The sadness and tragedy of that time is still with me/us. Why were our governments and leaders not more proactive in the early 1980’s, when AIDS first appeared? So many could have been saved.  WHY remains the question.  Robert Flack, Tim Jocelyn, Jorge Zontal, Felix Partz, David Buchan and so so so many more should still be with us, that is the tragedy that will never die.

Chrysanne Stathacos, 2020

 

I am pleased to announce that the Art Gallery of Ontario has included my work in the Artist Spotlight Series 

My work “Condom Aura”, with works by Liliane Lijn and Tamara Henderson
SISTERHOOD , Streaming voices unifying energies  
Curated by Angelo Plessas at Haus N Athen

Participating Artists:
Sarah Abu Abdallah, Petra Cortright, Despoina Damaskou, Zoe Giabouldaki, Tamara Henderson, Liliane Lijn, Olga Migliaressi-Phoca, Bahar Noorizadeh, Nausika Pastra, Lena Platonos with Margarita Ovadia, Paola Revenioti, Vanessa Safavi, Georgia Sagri, Sofia Stevi, Chrysanne Stathacos, Susan Silas, Priscilla Tea, Amalia Vekri, Pegy Zali.“Sisterhood” is a show consisting of works by female and female-identifying artists who shape their practices through an intersection of techno-scientific sensuality where new emotional meanings and methodologies emerge.The artists of the “Sisterhood” come from different generations and backgrounds. The works selected in the show commonly illuminate the influence of technology spanning chronologically from the “early accessible tools” era culminating to the current time of our hyper-penetration of technology in our lives where attitudes and forms of communication change rapidly every day. The show aspires to highlight how our hyper-connected reality – whose mechanisms are still male-dominated, is sowing the seeds with a utopian drive for full equality.

I am honoured to be included in Andrea Miller’s  book

 

I will be presenting at the Research Convening In The Present Moment” ,  
October 25- 27,  at the Art Gallery of Victoria and the University of Victoria.

Press -Art Gallery of Greater Victoria explores relationship between Buddhism and contemporary art

 

Art Basel,Faeture

Art Basel Feature, June 2019 – Chrysanne Stathacos and Angelo Plessas,  

The Breeder Gallery, Athens 

“The artistic practice of both Chrysanne Stathacos and Angelo Plessas is situated within communal and participatory performative space. Their sensibilities intersect where ritual meets social consciousness.

Stathacos reconfigures and subverts patriarchal histories through a feminist perspective. In the 1970s, she became associated with General Idea. After two of the group founders died of AIDS, Stathacos began travelling to India, where she became involved with Eastern spirituality. Her Rose Mandalas are time-based installations formed from rose petals in concentric circular constructions. The mandalas are swept away in a final gesture, reflecting on the ephemerality of life and loss.

Plessas takes up the activist baton from Stathacos and the generation of General Idea. In his hands, the Internet becomes a techno-shamanistic facilitator of on- and offline interactions among like-minded participants. His Noospheric Quilts can be seen as physical mantles that are composed of talismanic symbols, communicating across time and cultures. The work also draws on the subversive, activist concept of commemorating loss and ephemerality that inspired the AIDS Memorial Quilt”

Press- Art Tribune 

 

GOLD RUSH  at COOPER COLE, TORONTO – December 15, – February 2, 2019

COOPER COLE is pleased to present Gold Rush, a solo exhibition by Chrysanne Stathacos.

“Mysticism and spirituality have long informed Stathacos’s practice, and her shadowy, elemental depictions of nature in reds, golds, silvers, blacks, and whites lend themselves to a shamanistic reading. In these canvases, altered consciousness becomes a mode of witness and remembrance.”
– Sophie Kovel, Artforum, October 2018

The exhibition includes pivotal historical printed paintings of ivy and marijuana leaves made in the 1990’s, in conversation with recent paintings, and assemblages. A new site-specific installation from The Rose Mirror Mandala series, entitled Alchemical Golden Rose Mandala will occupy the floor of the gallery where Stathacos will conduct performative activities during the course of the exhibition.

Since the 1980’s, Stathacos has created works that conjure a shamanistic and eco-holistic reading. She investigates the spiritual properties inherent in visionary and healing plants, in conjunction with meditation activities. The AIDS crisis had a profound effect on her work, resulting in the use of direct impressions through a range of printmaking techniques using etching presses and silk screens. The impressions from nature were influenced by the works of Yves Klein, Anna Atkins and The Shroud of Turin. The ivy and marijuana leaves used for her 1990’s paintings came from the 12th Street garden apartment near St Vincent’s Hospital NYC and were grown by Jorge Zontal of General Idea. Jorge gave her the leaves to use in her paintings. Ivy, hair, roses and marijuana leaves have been recurrent symbols in her work since that time. As a counterpoint to consumerism, Stathacos has based her work on the natural world, ephemeral, alchemical and environmental concerns. Her use of mirroring and patterning manifest a sense of immediacy with reflections on time passing.

As a Tibetan Buddhist friend noted, “For me the Rose Mandalas symbolise the gradual unfolding of our innate nature. Conversely these mandalas remind us of the inherent impermanence of even the beautiful”. Based on historical circular structures, these installations are created by plucking dozens of roses apart petal by petal that circle large round glass mirrors. During the exhibition the petals are left to dry and they gradually reduce in size, almost disappearing while one’s senses are touched by waves of rose scent inhabiting the space of the work. What remains of the dried-up mandala is blown away as a closing performance on February 2nd at the end of the exhibition.

 

“FIVE MIRRORS OF THE WORLD” at the Second edition of  SCULPTURE PARK AT MADHAVENDRA PALACE, NAHARGARH FORT, JAIPUR, RAJASTHAN

The Sculpture Park at Madhavendra Palace in Nahargarh fort has turned an 18th-Century fortress into a Sculpture Gallery with works displayed throughout the meandering rooms and grand courtyards. Traditional Indian architecture creates a dramatic backdrop for the monumental works occupying central positions and more intimate works featured throughout the many rooms, awaiting discovery. Visitors are invited to meander through the palace, to encounter and experience each work in a range of settings and display. The Sculpture Park’s second edition opened December 9, 2018 and will run through 15 November 2019.  The Sculpture Park’s second edition opened December 9, 2018 and will run through 15 November 2019.

“Five Mirrors of The World ” at The Sculpture Park, Madhavendra Palace, Nahargarh Fort, Jaipur, India

Press:

See the Majestic Displays at India’s First Contemporary Sculpture Park.

“Five large colored mirrors installed on a round table reflect the outdoors through a skylight at the palace’s Maharaja suite. Chrysanne Stathacos’s work, entitled “Five Mirrors of the World” (2018), refers to astronomical diagrams depicted in Tibetan thangkas. The five mirrors — surrounded by roses, hand-printed hair cloth, and Bodhi leaves — represent different aspects of life: energy; existence; personality; emotional landscape; and the way in which we relate to others and to our world.”

Tribune India –

“Another stunning creation is by multi-disciplinarian Canadian artist Stathacos. It is called Five Mirrors of the World. It comprises five large-sized circular mirrors, a hand-printed hair cloth with roses and is interspersed with Bodhi leaves. An ode to the five elements of energy, earth, sky, water, ether and fire, the installation tries to make a statement on how all species are so interdependent and thus interconnected.”

OUTLOOK India 

AD India

Artsy 

 

 

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ARTFORUM  CRITIC’S PICS at      SITUATIONS

Cannabis is in the air, from an October issue of Bloomberg Businessweek (with a cover that reads “Pot of Gold? ELEVATE YOUR PORTFOLIO!”) to Canada’s recent legalization of the substance. Chrysanne Stathacos’s ivy and marijuana paintings, made in 1990 and now on view here, champion the healing properties of the plant avant la lettre, anticipating today’s global decriminalization and legalization movement.Exhibited for the first time, the artist’s canvases bring to mind the work of Joan Mitchell and Pat Steir with their verticality and abstract botanical forms. Stathacos uses a range of techniques—etching press, silk screen, and the direct printing of leaves, roses, and hair—to build layered surfaces. These processes coalesce in Potted Passion #2, where directly printed images of marijuana leaves, in black and white, hover over patches of ivy (an evergreen that symbolizes eternity and the strength of friendship) rendered in blue. At the edges of the canvas, the white marijuana leaves take on a spectral character, as they almost disappear into the work’s pale ground. The late artist and activist Jorge Zontal, a member of the queer art collective General Idea, provided Stathacos with the cannabis plants, which he grew in his garden apartment (Zontal died in 1994 from AIDS-related complications). Stathacos’s works, produced during a time of indelible loss, are not only diaristic but funerary.Mysticism and spirituality have long informed Stathacos’s practice, and her shadowy, elemental depictions of nature in reds, golds, silvers, blacks, and whites lend themselves to a shamanistic reading. In these canvases, altered consciousness becomes a mode of witness and remembrance.

Pleased to announce my one person exhibition,  DO I STILL YEARN FOR MY VIRGINITY?  


at SITUATIONS, 127 HENRY STREET, NEW YORK NY 10002 

  October 20 – November 25  , Opening Reception, October 21, 6 – 8 pm

SITUATIONS is pleased to present Do I Still Yearn for My Virginity?, a solo exhibition by Chrysanne Stathacos, comprised of pivotal printed paintings of ivy and marijuana leaves from the early 1990’s.

The title Do I Still Yearn for My Virginity?* refers to one of the artist’s favorite fragments from the archaic Greek poet Sappho. Stathacos recited excerpts from Sappho’s poetry during her recent performance-installation, Pythia’s Rose Mandala at AA Bronson’s Garten der Lüste, KW Institute for Contemporary Art, Berlin and Pythia at The Breeder, Athens. The Pythia references the tripod structures used in ancient Delphi by the ‘virgin’ female oracles who inhaled the vapors of hallucinatory plants. Reflecting on her past, Stathacos presents the paintings as ‘virgins’ to the public for the first time at Situations. While imagining The Eleusinian Mysteries, she created these radical works with the intention to evoke a shamanistic reading. Made in the 1980-90’s as a counterpoint to the Neo Geo and The Pictures Generation commentaries on consumerism and mass media, her investigation explored the spiritual properties inherent in visionary and healing plants.

Additionally, the AIDS crisis had a profound effect on her work, resulting in the use of direct impressions from nature. Just as one would take a handprint or make a death mask, Stathacos used leaves, roses, hair, and body imprints to create permanent marks, inspired by The Shroud of Turin and Yves Klein/s  work. Stathacos’ use of mirroring and patterning of direct printing from the plants manifests a sense of immediacy. She paints back into the canvas, creating an illumination by her use of drips and veils of paint. The final results are paintings that flip directions in the mind, with detailed alchemical gestures that conjure the plant’s inherent healing properties.

Situations is also pleased to reprint Chrysanne Stathacos and Anne De Cybelle, AA Bronson’s preface in her artist book, And So Beautiful (1995, Lombard Freid Fine Arts, NYC). AA Bronson references Stathacos’ self-created alter ego Anne de Cybelle and reveals her as the Psychic d’Elle Arte. Stathacos continues to embrace her Anne de Cybelle, the Psychic d’Elle Arte, and Pythia personages.

Pythia Rose Mandala, Chrysanne Stathacos @ AA Bronson’s Garten Der Luste
Photo © Andrea Rossetti
Courtesy KW Institute for Contemporary Art, Berlin, and Esther Schipper, Berlin.

 

Pythia’s Rose Mandala at AA Bronson’s Garten Der Luste, KW, Berlin

 

“Pythia’s Rose Mandala” at The Breeder, Athens, Photo-Andreas Angelidakis

Pythia, The Breeder, Athens, 2017

The Breeder is pleased to present Chrysanne Stathacos’s (b. 1951) first solo presentation in Greece. Titled Pythia.

The Pythia’s Rose Mandala is exhibited in the gallery’s ground floor. The Rose Mandala series was originally created to be presented to the Dalai Lama in 2006 for his visit at the University of Buffalo; the Mandalas have been featured in numerous international exhibitions such as AA Bronson’s Garden of Earthly Delights, Kunstverein Salzburg, 2015; Sacre du Printemps, Kunstverein Graz, 2015; The Temptation of AA Bronson, Witte de With Centre for Contemporary Art, Rotterdam, 2013 and will also be included in AA Bronson’s upcoming exhibition at KW Institute of Contemporary Art Berlin in 2018.

The titular “Pythia” is a bonze tripod censer, placed in the centre of the installation and referencing the tripod structures used in ancient Delphi by female oracles. For Stathacos, these bronze structures reference ancient female spirituality – the oracle that prophesies the future and also heals certain pasts. Her use of the Pythia is an act of feminist reclamation of this spiritual ancestry.

This installation is initiated and concluded by a time-based performative ritual. Departing from the historical mandala structure, Stathacos plucks dozens of roses apart petal by petal, laying them in a circular formation around a colored mirror, at the center of which stands a Pythia censer. Stathacos invites her audience to participate in the place-setting ritual by engaging them in conversation throughout. This has been described by AA Bronson as an act of ‘public service’. The space is redolent with the scent of roses. Throughout the exhibition these petals are left to dry and although the mandalas maintain their colour, they gradually reduce in size. Included in the exhibition are paintings, Rose Dance and Pythia’s Scroll, which are made thought Stathacos unique use of printmaking techniques on canvas and linen.

Press-  Top 12 Must-See Art Exhibitions in Europe this September – Blouin Artinfo

Most Interesting Exhibitions in 2017 – Culture Now Greece 


Oracle Drawings:

The Parliament of Bodies, The Public Programs of documenta 14, July 2017

“Oracle drawings” is a project initiated and curated by Sozita Goudouna and Paul B. Preciado. It consists of a collaborative staging of a public participatory installation by Karen Finley and Adonis

Volanakis and an introductory ritual,  Pythia’s Warm Breath, by Chrysanne Stathacos for The Parliament of Bodies, the Public Programs of documenta 14, and the specific context of Parko Eleftherias.

Working with her text “Delphi, The Womb of the Eurotic World” and Par Lagerkvist’s “The Sibyl,” Chrysanne Stathacos creates a ritual of breathing, meditation and healing with herbs and essential oils that prepares the environment. The project draws from the feminist tradition and takes as a starting point Pythia’s myth and the prophecy as a narrative that foretells the future but also forecloses or heals a certain past. What happens when the door is closed? What remains when our paths have to break apart?


Frieze NY, 1-900 Mirror Mirror at The Breeder , May, 2017

1-900 Mirror Mirror (1993) was shown at Frieze NY with The Breeder, Athens from May 5- May 7th  –  we had the interactive component readings on every day for two hours – with famous psychics and artists! 1-900 Mirror Mirror was well received and on the front page of The Art Newspaper Frieze and selected as one of the 10 Best by iD  ,  and Wallpaper .  Art News featured The Golden Thread from the recent Greek India Series . Here is the link to the book on the history of the project 1993-96 – With text by AA Bronson and photographs by Maxine Henryson.  Frieze Highlights and Looking Forward from Stefan Kalmer  and The Culture Files ..


Political Gestures,  Galerie Heike Strelow, Frankfurt, 2017

The international exhibition “Political Gestures” is the second of three exhibitions that Galerie Heike Strelow has conceived to celebrate its 10th anniversary. The works shown in this exhibition explore the relationship between the individual, society and the environment in different forms. They raise questions about migration, transculturality and demarcation, but also about personal and collective identity. In doing so, they challenge the viewer, at times in a subtle and at time in a very direct way, to consider his position regarding this questions.

The exhibition will include works by Barbara and Michael Leisgen, George Steinmann and Chrysanne Stathacos, who were already dealing in the 70s and 80s in their work with political and personal identity questions. Their works will be presented in discourse with works by emerging and established artists, like the Syrian artist Khaled Barakeh, the British artist Zavier Ellis, the Venezuelan artist Jose Vivenes, the American artist Travis Somerville as well as the German artists Fides Becker, Goekhan Erdogan, Katrin Ströbel and Hendrik Zimmer. During the opening, Chrysanne Stathacos will do a performance.


More News 

Chez Anne – Athens

Art Forum – Kpisis Management by Andrew Durbin –  mention of  performance Chez Anne

Tht Temptation of AA Bronson: A Finissage Witte de With, Rotterdam

The Rose Mirror Mandala (of three reflections for HHDL)” in “The Temptation of AA Bronson”, Witte de With Center for Contemporary Art, Rotterdam, Netherlands

Press

Artforum κρίσις 

The Wish Machine in the Toronto Star 

Rose Mirror Mandala installations in Metropolis M , Hyperallergic & here- the Consolation of Temptation , All is Full of Love Art in AmericaArt Forum  Phantasmaphile, and  Springerin.

The Rose Mandala series  and the inspiration behind them was featured in the September 2013  issue of Shambhala Sun

A mention of 466 Bathurst early history in Toronto in Kathy Acker goes to Toronto in Canadian Art

The Banquet inspired  Abby Hertz in  Cosmopolitan   – “Hertz credits the inspiration for the dinner portion of the evening from past works by artists Méret Oppenheim, and Hunter Reynolds and Chrysanne Stathacos,

Flower Power in  whitehotmagaizne by Robert Mahoney, and  the Lincoln Star Journal by   L. Kent Wolgamott.

Floating poems  – Los poemas flotantes de Chrysanne Stathacos

The  Rose Mirror Mandala series at  Salzburger Kunstverein (AA Bronson’s Garden of Earthly Delights)

and Grazer Kunstverein, (AA Bronson’s Sacre du Printemps).

Flower Power,  Fiendish Plots in Lincoln, Nebraska 

The Baby Wish Machines  in  The Botanica”, Carroll and Sons, Boston and Invisible Exports, NYC,

The Rose Mandala Mirror ( of Three Reflections)   in The Temptation of AA Bronson at the Witte de With, Center for Contemporary Art, Rotterdam

New Publications

Were You Here, (1984-2015) with xxx/888 books and Ho Tam

Delphi: The Womb of the Eurotic World, EROS, Scapegoat Journal, Spring, 2016