KALO MINA
12 UNIQUE MONTHLY SHOWS
January 1, 2023 – December 20, 2023
Karin Karinna Bühler
widmertheodoridis keeps finding and presenting art at new places. This time the event was limited by the spatial conditions of the exhibition space OTTTO: The art works had to fit into the display window in favour of a 24/7 accessibility.
On the first day of each month, Greeks will be greeting just about every single person they know and meet with: “Καλό μήνα” (Kalo Mina), which literally means “good month”. widmertheodoridis wishes you in 2023 with 12 Swiss artists a ‘Kalo Mina’ in Athens. Kalo Mina is not a thematic exhibition but a window of Swiss contemporary art. On the first of every month one artist out of twelve is presented.
January:
Kalo Mina kicks off in January with the painter Heike Müller.
The term 'muse' took on a whole new meaning for her when she started to invite friends and strangers to sit for her. And she knew, she wanted her 'muses' to be beautiful. Fascinated by form and expression, Heike Müller shows in her paintings men reading, lying down, thinking, resting. Private moments of, in the eye of the artist, beautiful men.
February:
On the first day of each month, Greeks will be greeting just about every single person they know and meet with: “Καλό μήνα” (Kalo Mina), which literally means “good month”. widmertheodoridis wishes you in 2023 with 12 Swiss artists a ‘Kalo Mina’ in Athens. Kalo Mina is not a thematic exhibition but a window of Swiss contemporary art. On the first of every month one artist out of twelve is presented.
January:
Kalo Mina kicks off in January with the painter Heike Müller.
The term 'muse' took on a whole new meaning for her when she started to invite friends and strangers to sit for her. And she knew, she wanted her 'muses' to be beautiful. Fascinated by form and expression, Heike Müller shows in her paintings men reading, lying down, thinking, resting. Private moments of, in the eye of the artist, beautiful men.
February:
Almira Medaric known for her strict, graphic images opens the February window of Kalo Mina.
Her work series ’Singing Patterns' derives from rock songs she loves and the works are executed on extra thin paper—just like concert posters. The patterns are inspired by the titles of her favourite songs. In 'Howling for You' she used little keys as a reference to the band’s name The Black Keys and in 'An Animal' it’s little red boots for the band Blood Red Shoes.
March:
huber.huber opens the March window of Kalo Mina.
The two artists work in different media and techniques, such as photography, collage, drawing and sculpture.The works of huber.huber imply many content levels. From rather harmless and quiet to radically irritating and disruptive. Some works are clearly political, while others refer in an unagitated way to developments in our society. Humour, or irony is an important part in their work and is meant to induce contemplation. Their work is never loud or martial, but rather well-considered and still. The work 'Goodbye blue sky' refers to the eponymous song of Pink Floyd and couldn’t be any more currently relevant than now: "Did you hear the falling bombs? Did you ever wonder why we had to run for shelter when the promise of a brave new world unfurled beneath a clear blue sky?"
April:
Kalo Mina in April looks enchanting.
In her works, Simone Kappeler pushes the limits of analogue photography already since 1970. The images are precisely composed and yet experimental, almost poetic. "My vision of photography is not to create a one-to-one image of reality, but to deviate a little and so enable a new seeing. It’s all about retaining and wresting something from the stream of time.“ Her technically heterogenous oeuvre appears cohesive even timeless and emphasizes her strive to capture ‚eternity' by the means of photography. And what Simone Kappeler captures are moments of emotional beauty, which challenge the boundaries of reality–moments full of charm and magic.
May:
Her work series ’Singing Patterns' derives from rock songs she loves and the works are executed on extra thin paper—just like concert posters. The patterns are inspired by the titles of her favourite songs. In 'Howling for You' she used little keys as a reference to the band’s name The Black Keys and in 'An Animal' it’s little red boots for the band Blood Red Shoes.
March:
huber.huber opens the March window of Kalo Mina.
The two artists work in different media and techniques, such as photography, collage, drawing and sculpture.The works of huber.huber imply many content levels. From rather harmless and quiet to radically irritating and disruptive. Some works are clearly political, while others refer in an unagitated way to developments in our society. Humour, or irony is an important part in their work and is meant to induce contemplation. Their work is never loud or martial, but rather well-considered and still. The work 'Goodbye blue sky' refers to the eponymous song of Pink Floyd and couldn’t be any more currently relevant than now: "Did you hear the falling bombs? Did you ever wonder why we had to run for shelter when the promise of a brave new world unfurled beneath a clear blue sky?"
April:
Kalo Mina in April looks enchanting.
In her works, Simone Kappeler pushes the limits of analogue photography already since 1970. The images are precisely composed and yet experimental, almost poetic. "My vision of photography is not to create a one-to-one image of reality, but to deviate a little and so enable a new seeing. It’s all about retaining and wresting something from the stream of time.“ Her technically heterogenous oeuvre appears cohesive even timeless and emphasizes her strive to capture ‚eternity' by the means of photography. And what Simone Kappeler captures are moments of emotional beauty, which challenge the boundaries of reality–moments full of charm and magic.
May:
Kalo Mina in May welcomes Madame Tricot.
She presents Wilgefortis, a female folk saint whose legend arose in the 14th century, and whose distinguishing feature is a large beard. According to the legend of her life, set in Portugal and Galicia, she was a teenage noblewoman who had been promised in marriage by her father to a Moorish king. To hinder the unwanted wedding, she had taken a vow of virginity, and prayed that she would be made repulsive. In answer to her prayers she sprouted a beard, which ended the engagement. In anger, Wilgefortis's father had her crucified.
She presents Wilgefortis, a female folk saint whose legend arose in the 14th century, and whose distinguishing feature is a large beard. According to the legend of her life, set in Portugal and Galicia, she was a teenage noblewoman who had been promised in marriage by her father to a Moorish king. To hinder the unwanted wedding, she had taken a vow of virginity, and prayed that she would be made repulsive. In answer to her prayers she sprouted a beard, which ended the engagement. In anger, Wilgefortis's father had her crucified.
Her name is thought to have derived from the Latin "virgo fortis" (courageous virgin). In England her name was Uncumber (unburden). While adored by some Catholics, Wilgefortis was never officially canonised by the church, but instead was a popular intercessor for people seeking relief from hardship, in particular by women who wished to be liberated from abusive husbands. Wilgefortis has been widely popular in Portugal, Galicia, Germany, Poland, Italy, Spain, and France.
June:
Kalo Mina in June presents new “Fehlstellen” (faults) by steffenschöni.
The artists were inspired by the findings in the Mosaic Museum in Istanbul. A fault defines a spot, where a piece of the original mosaic is missing. Replacements–original look alike or apparently different–are inserted by experts when the mosaic is undergoing restoration. steffenschöni put these replacements into the focal point of the series. The cheap construction material styrofoam serves as the basic material. The new mosaic pieces are skillfully cut by hand into pieces, painted and grouped. The new faults are absolutely fictional. The respective, original mosaic doesn’t exist and hence remains invisible. These faults build a quasi-negative form–a secured background noise. What appears to be a reference to archaeological work methods is often essential in steffenschöni’s practice. Findings, residuals, particles are semi-scientifically processed, conserved and put into a historical and actual context.
July:
June:
Kalo Mina in June presents new “Fehlstellen” (faults) by steffenschöni.
The artists were inspired by the findings in the Mosaic Museum in Istanbul. A fault defines a spot, where a piece of the original mosaic is missing. Replacements–original look alike or apparently different–are inserted by experts when the mosaic is undergoing restoration. steffenschöni put these replacements into the focal point of the series. The cheap construction material styrofoam serves as the basic material. The new mosaic pieces are skillfully cut by hand into pieces, painted and grouped. The new faults are absolutely fictional. The respective, original mosaic doesn’t exist and hence remains invisible. These faults build a quasi-negative form–a secured background noise. What appears to be a reference to archaeological work methods is often essential in steffenschöni’s practice. Findings, residuals, particles are semi-scientifically processed, conserved and put into a historical and actual context.
July:
Elisabeth Nembrini starts off the July window of Kalo Mina.
The artist collects and works with personal and collective images from various sources. After experimenting with photo technical processes she creates images in various medias that remind us of visual realities. Elisabeth Nembrini transforms photographs by embroidering, perforating and enlarging by the means of projection. Or she takes the photo chemical processing literally to extremes by applying glass pearls as a substitute for the imaging silver particles. The relationship between humans and animals plays a central role in her practise. The symbolic acquisition of animalistic attributes can be found ever since in the in art and cultural history of mankind. Early cave drawings already demonstrate how the history of mankind is accompanied by animals. Whether wild or domesticated animals, the human beings stand not only above the animals, but live with and from them. Through shamanic rituals and religious traditions the power and the magic of the animals was submitted and occupied.
The artist collects and works with personal and collective images from various sources. After experimenting with photo technical processes she creates images in various medias that remind us of visual realities. Elisabeth Nembrini transforms photographs by embroidering, perforating and enlarging by the means of projection. Or she takes the photo chemical processing literally to extremes by applying glass pearls as a substitute for the imaging silver particles. The relationship between humans and animals plays a central role in her practise. The symbolic acquisition of animalistic attributes can be found ever since in the in art and cultural history of mankind. Early cave drawings already demonstrate how the history of mankind is accompanied by animals. Whether wild or domesticated animals, the human beings stand not only above the animals, but live with and from them. Through shamanic rituals and religious traditions the power and the magic of the animals was submitted and occupied.
The mainstay of the work 'Barbès Rochechouart' piece was a found advertisement which promised quick aid for a plethora of situations. The magician pompously praises his skilled capabilities to solve love, financial, health or family problems—despite the numerous typing errors. And the black pearls and the white blanket refer for their part to magical and occult meanings in other cultures.
August:
For the Kalo Mina show in August Karin Karinna Bühler is extensively seizing the side windows of OTTTO.
Critical curiosity and the playful passion for words are crucial in Karin Karinna Bühler’s practice. Her installations are based on local research that disclose relations and continue to resonate beyond the surface of the apparent. She analyses society and questions the way we use language, power and sex.
Text as an instrument for writing history, defining values and retaining power has been in use since about four thousand years. Our contemporary societies are still patriarchal due to the centuries long exclusion of women from science and politics. Most archives contain only “History” but no “Herstory”, which also mirrors many other aspects in life.
“You understand me?” in Greek letters refers to many current cultural and socio-political questions. When two cultures meet a common language–a lingua franca–is as much needed as the ability to act with openness to meet the foreign. To find the “right” language might become a difficult endeavour.
September:
Kalo Mina! Werner Widmer calls you in September to the table where he serves new works from the series 'A Pinch of Passion'.
Passion is the fire that is needed to create objects from solid rock or fragile sugar. And passion is the reason why–even only for a short period of time–we do exist. It’s with passion that Werner Widmer extracts from dead material figurative objects that are charged with sensuousness. Arranged as a still life they refer to the transience of our existence: Memento mori! Remember you are mortal! On the table are olives, Parmigiano and Taralli, much–loved ingredients for an aperitive and a dash of dolce vita. They let us forget for a short moment the finiteness of life. Werner Widmer’s work is characterised by a fine, ambiguous subtleness in which he integrates visual and tactile elements.
October:
Othmar Eder opens up the Kalo Mina in October with “1000 Berge” (mountains).
Focusing on what is essential and the ability to slow down time are key factors in the work of Othmar Eder. His proficiency to create drawing images that serve as findings of elapsed time is proof of his power to temporarily undock from the common world. Despite picturing a quietness and reserve, the works are intense moments of life in which Othmar Eder shows compressed layers of time. His overexposed drawings with soft contrasts are characteristic and distinctive.
Othmar Eder enriches his ideas with memories of mountain hikes in the Alps and his strolls through Lisbon and Genova. “How great they are!” he babbled when staring at the home mountains. Just like Bernardo Soares in The Book of Disquiet by Pessoa when he looked up to the sky and to the formation of clouds and said: “Seeing and hearing are the only noble things that life holds for us.” Well, Othmar Eder is truly a noble and persistent visionary.
November:
Kalo Mina of November presents Ursula Palla with an installation of 48 bronze parts.
In her works the artist combines the media video and sculpture and brings delicate materials such as sugar, coal dust or snow together. The fragility and transience of plants and animals is a central key in many of Ursula Pallas works. Tender poesy and a delightful aesthetic makes them accessible on a first level.The source for “Botanical Fragments/Displaced Herbarium 2” can be found in the herbarium of extinguished, displaced plants. In the reconstruction process 2d images were converted into 3d graphics and then printed. These 3d prints were subsequently used as anoriginal for casting. The highly detailed casts in bronze are technically impressive but can not detract the fact that these are only incomplete depictions of displaced plants. Hence, parts of the visual information will remain irrecoverable. “Botanical Fragments/Displaced Herbarium 2” appears like a time travel to a botanical past emphasising our responsibility towards nature and environment.
December:
Urs Eberle presents in the last edition of Kalo Mina in 2023 new works on paper from the series ‘Cut-out’ which he completed in Athens.
In his works Urs Eberle refers to fragments of voyages which he assembles from memories. They are means of orientation, guiding tools and mnemonic devices: tags through time and space in urban places. City streets mostly run in a linear, i.e. vertical and horizontal, pattern outlining buildings and creating square areas. The grid they form creates a space for exploration which Urs Eberle records in his works on paper and objects. In that sense they rather have to be regarded as emotional road maps where gaps and omissions can be filled and revived by the spectator.The new work ‘It Is Not What It Is’ was created in Spain and completed in Athens. It refers to the eponymous publication by Vincent R. Werner in which he critically addresses economical and sociological questions in Spain and thus in comparable Greece. Problems such as ‘working poor’, ‘gig economy’ and rising rents in city centres due to the rising numbers of tourists are in particular pressuring people in the southern hemisphere and are wearing out traditional structures of society. The terms Elladistan, Espanistan and Banania are creations that derive from this development and proof of an inglorious erosion of security and trust in social institutions.
August:
For the Kalo Mina show in August Karin Karinna Bühler is extensively seizing the side windows of OTTTO.
Critical curiosity and the playful passion for words are crucial in Karin Karinna Bühler’s practice. Her installations are based on local research that disclose relations and continue to resonate beyond the surface of the apparent. She analyses society and questions the way we use language, power and sex.
Text as an instrument for writing history, defining values and retaining power has been in use since about four thousand years. Our contemporary societies are still patriarchal due to the centuries long exclusion of women from science and politics. Most archives contain only “History” but no “Herstory”, which also mirrors many other aspects in life.
“You understand me?” in Greek letters refers to many current cultural and socio-political questions. When two cultures meet a common language–a lingua franca–is as much needed as the ability to act with openness to meet the foreign. To find the “right” language might become a difficult endeavour.
September:
Kalo Mina! Werner Widmer calls you in September to the table where he serves new works from the series 'A Pinch of Passion'.
Passion is the fire that is needed to create objects from solid rock or fragile sugar. And passion is the reason why–even only for a short period of time–we do exist. It’s with passion that Werner Widmer extracts from dead material figurative objects that are charged with sensuousness. Arranged as a still life they refer to the transience of our existence: Memento mori! Remember you are mortal! On the table are olives, Parmigiano and Taralli, much–loved ingredients for an aperitive and a dash of dolce vita. They let us forget for a short moment the finiteness of life. Werner Widmer’s work is characterised by a fine, ambiguous subtleness in which he integrates visual and tactile elements.
October:
Othmar Eder opens up the Kalo Mina in October with “1000 Berge” (mountains).
Focusing on what is essential and the ability to slow down time are key factors in the work of Othmar Eder. His proficiency to create drawing images that serve as findings of elapsed time is proof of his power to temporarily undock from the common world. Despite picturing a quietness and reserve, the works are intense moments of life in which Othmar Eder shows compressed layers of time. His overexposed drawings with soft contrasts are characteristic and distinctive.
Othmar Eder enriches his ideas with memories of mountain hikes in the Alps and his strolls through Lisbon and Genova. “How great they are!” he babbled when staring at the home mountains. Just like Bernardo Soares in The Book of Disquiet by Pessoa when he looked up to the sky and to the formation of clouds and said: “Seeing and hearing are the only noble things that life holds for us.” Well, Othmar Eder is truly a noble and persistent visionary.
November:
Kalo Mina of November presents Ursula Palla with an installation of 48 bronze parts.
In her works the artist combines the media video and sculpture and brings delicate materials such as sugar, coal dust or snow together. The fragility and transience of plants and animals is a central key in many of Ursula Pallas works. Tender poesy and a delightful aesthetic makes them accessible on a first level.The source for “Botanical Fragments/Displaced Herbarium 2” can be found in the herbarium of extinguished, displaced plants. In the reconstruction process 2d images were converted into 3d graphics and then printed. These 3d prints were subsequently used as anoriginal for casting. The highly detailed casts in bronze are technically impressive but can not detract the fact that these are only incomplete depictions of displaced plants. Hence, parts of the visual information will remain irrecoverable. “Botanical Fragments/Displaced Herbarium 2” appears like a time travel to a botanical past emphasising our responsibility towards nature and environment.
December:
Urs Eberle presents in the last edition of Kalo Mina in 2023 new works on paper from the series ‘Cut-out’ which he completed in Athens.
In his works Urs Eberle refers to fragments of voyages which he assembles from memories. They are means of orientation, guiding tools and mnemonic devices: tags through time and space in urban places. City streets mostly run in a linear, i.e. vertical and horizontal, pattern outlining buildings and creating square areas. The grid they form creates a space for exploration which Urs Eberle records in his works on paper and objects. In that sense they rather have to be regarded as emotional road maps where gaps and omissions can be filled and revived by the spectator.The new work ‘It Is Not What It Is’ was created in Spain and completed in Athens. It refers to the eponymous publication by Vincent R. Werner in which he critically addresses economical and sociological questions in Spain and thus in comparable Greece. Problems such as ‘working poor’, ‘gig economy’ and rising rents in city centres due to the rising numbers of tourists are in particular pressuring people in the southern hemisphere and are wearing out traditional structures of society. The terms Elladistan, Espanistan and Banania are creations that derive from this development and proof of an inglorious erosion of security and trust in social institutions.
Exhibition
January 1 – December 20, 2023
Reception and presentation of new works:
On the 1st of every month, 6–8pm
Duration: 1st to 20th of every month
Visit: Window exhibition 24/7
Reception and presentation of new works:
On the 1st of every month, 6–8pm
Duration: 1st to 20th of every month
Visit: Window exhibition 24/7
Location
OTTTO
Mavromichali 137
11472 Athens GR
Mavromichali 137
11472 Athens GR
KALO MINA is supported by:
Swiss Embassy Athens
Gitta Herfort Stiftung
SMKK-Stiftung
Amt für Kultur SG
G+B Schwyzer Stiftung
Gitta Herfort Stiftung
SMKK-Stiftung
Amt für Kultur SG
G+B Schwyzer Stiftung