Akkordeon Inhalt

Gigi Argyropoulou is a theorist, curator, dramaturg and researcher working in the fields of performance and cultural practice based in Athens and London. Gigi has initiated and organized public programs, interventions, performances, conferences, festivals, exhibitions and cultural projects both inside and outside of institutions. She is a founding member of Mavili Collective, Institute for Live Arts Research, Green Park, F2/Mkultra, and Οχτώ/Eight (Critical institute for arts and politics). As a member of Mavili and other collectives, Gigi co-initiated/co-organized occupations, interventions, programs and cultural critique actions during the crisis. She holds a PhD from Roehampton University and an MA from Dartington College of Art. Gigi received the Dwight Conquergood Award for her work in 2017 and the Routledge Prize (PSi18) in 2012. She has taught in undergraduate and postgraduate programs. Gigi is editor of the special issue of Performance Research “On Institutions” (with H. Vourloumis) and publishes regularly in journals, books, and magazines. Gigi is member of the curatorial and editorial board of HKW’s New Alphabet School and is co-curating the upcoming edition “On Instituting.”

Diana Artus is a Berlin-based artist and writer interested in the perception of urban space. In 2000, she received a Magister Artium Degree in German Literature and Language at University of Leipzig, and in 2007, she received a Diploma in Photography at the HGB. She participated in international exhibitions and residency programs at ISCP New York, Seoul Art Space Geumcheon, Kunsthalle Exnergasse Vienna, n.b.k. Berlin, Fabra i Coats Barcelona, La Casa Encendida Madrid, and Hectoliter Brussels, among others.

James Bridle is a writer and artist working across technologies and disciplines. Their artworks have been commissioned by galleries and institutions and exhibited worldwide and on the internet. Their writing on literature, culture and networks has appeared in magazines and newspapers including Wired, the Atlantic, the New Statesman, the Guardian, and the Observer. New Dark Age, their book about technology, knowledge, and the end of the future, was published by Verso (UK & US) in 2018, and they wrote and presented “New Ways of Seeing for BBC Radio 4 in 2019. Their work can be found at

Nanne Buurman is an author and editor, educator and curator currently employed as an associate researcher and lecturer for documenta and exhibition studies at the Kunsthochschule Kassel, where she has been part of the team building the documenta Institut since 2018. In that capacity, she was involved in founding the Transdisciplinary Research Center for Exhibition Studies TRACES und is currently co-heading the research group on Nazi continuities at documenta. After graduating from Leipzig University, she was a member of the International Research Training Group InterArt at the Freie Universität Berlin and a visiting scholar at Goldsmiths College in London, supported by a DFG scholarship for her doctoral research on the gendered economies of curating. Buurman worked as an adjunct lecturer at  universities/art academies in Leipzig, Hildesheim and Bremen, and has been involved in numerous art education, exhibition, and publication projects most recently the curatorial research project in freiheit dressiert. being natural is simply a pose or the Networks of Care program that she currently co-curates at nGbK in Berlin. Her research and publications focus on exhibition studies, the politics, economies and epistemologies of curating, the past and present of documenta, the shifting roles of race, class, gender and labour in artistic and curatorial practice, the transcultural and technological conditions of cultural production in a global context as well as the political ambivalences of modernity and their uncanny hauntings today. She co-edited documenta: Curating the History of the Present (with Dorothee Richter, 2017), Situating Global Art: Temporalities – Topologies – Trajectories (with Sarah Dornhof, Birgit Hopfener and Barbara Lutz, 2018) and serves as an editor of the research platform documenta studies, which she co-founded with Nora Sternfeld, Carina Herring, and Ina Wudtke in October 2018.

CURRENT Athens is an online platform for the promotion of contemporary art founded and run by Despina Krey & Orestis Mavroudis. The main objective is to inform users about the current art activity in Athens. Additionally, all information is archived into a database, which contains spaces, artists, and curators that have exhibited in the city. The website was founded in 2017 and its function is based on the equal promotion of all events that take place in Athens.

Despina Krey lives and works in Athens. She holds a BA degree in History and Art Theory from the University of Ioannina. She worked as exhibition assistant in the State Museum of Contemporary Art in Thessaloniki, as intern at the Peggy Guggenheim Collection in Venice, as art mediator in exhibitions of NEON Cultural Organization, Radio Athènes, and the Cycladic Museum in Athens, and she was part of Sarah Sze’s team in the American Pavilion at the 55th Venice Biennale. Despina has been working at Gagosian Gallery in Athens since 2017. She is co-founder and editor at CURRENT Athens.

Orestis Mavroudis lives and works in Athens. He studied History and Theory of Art at the University of Ioannina and at the Accademia di Belle Arti di Brera in Milan, and Visual Arts and Curatorial Studies at Nuova Accademia di Belle Arti Milano. Currently, he is attending the post-master course Of Public Interest at the Royal Institute of Art in Stockholm. Orestis is founder of Jason Faulter design studio and of CLOSING SOON exhibition space in Athens. He is co-founder of Under the carpet filmmaking studio and co-founder and designer at CURRENT Athens.

T. J. Demos is Patricia and Rowland Rebele Endowed Chair in the Department of the History of Art and Visual Culture, University of California, Santa Cruz, and Director of its Center for Creative Ecologies. He writes widely on the intersection of visual culture, radical politics, and political ecology—particularly where it opposes racial and colonial capitalism—and is the author of several books, including Beyond the World’s End: Arts of Living at the Crossing (Duke University Press, 2020), Decolonizing Nature: Contemporary Art and Political Ecology (Sternberg Press, 2016), and Against the Anthropocene: Visual Culture and Environment Today, (Sternberg Press, 2017). Demos curated Rights of Nature: Art and Ecology in the Americas, at Nottingham Contemporary (2015); Specters: A Ciné-Politics of Haunting, at Madrid’s Reina Sofia Museum (2014); and Beyond the World’s End at the Museum of Art and History, Santa Cruz (2019). In Spring 2020, he was a Getty Research Institute Fellow, and during 2019-21 directed the Mellon-funded Sawyer Seminar research project Beyond the End of the World. He is working on a new book on radical futurisms.

Dora Economou (b. 1974, Athens) is an artist who lives and works in Athens. She is a graduate of the Athens School of Fine Arts and Pratt Institute in Brooklyn, New York. Economou has exhibited internationally in group and solo shows. Recent solo exhibitions and projects include: “Pangrams and Slogans” (2020) and “Representation” (2019) at Radio Athènes; “Island Hopping I & II” (2019, 2020) at Sterna Residency Projects, Nisyros; “Imbat Ambit” (2019) and “Mountains & Valleys” (2016) at Françoise Heitsch gallery, Munich; “Naturalist” (2015) at Ribot gallery, Milan; and “PREDEAL” (2014) at The Breeder gallery, Athens.

Eirene Efstathiou is a visual artist working in a variety of different media, from painting and printmaking to performance, to small scale installations; her practice investigates collective and archival memory, sentiment, affect, and how these function in the public sphere. Efstathiou is a graduate of the School of the Museum of Fine Arts, Boston, and Tufts University (Studio Art Diploma and BFA, 2003), where she studied painting and printmaking, and the Athens School of Fine Arts (MFA 2010), where she is currently a PhD candidate.

Efstathiou has participated in numerous solo and group exhibitions in Europe and the United States. In 2009, she was the recipient of the DESTE Prize, DESTE Foundation, Athens, Greece; in 2019 the NEON grant for post-graduate study, Athens, Greece; and in 2020 the Artworks Grant, from the Stavros Niarchos Foundation, Athens Greece. Efstathiou lives and works in Athens.

Alkisti Efthymiou is a writer and anthropologist. She is a Ph.D. candidate in the Department of Social Anthropology at Panteion University (Athens, Greece). Closely engaging with works of queer/feminist film in Chile, Argentina, and Greece, her thesis focuses on the critical state of intimacy under late capitalism. Having worked with several cultural institutions in Greece and abroad (such as the Athens Biennale and documenta 14), she also tries to problematize (when she can bear it) the conditions of precarity and exhaustion within the art world.

Enterprise Projects is an Athens-based project by curator Danai Giannoglou and artist Vasilis Papageorgiou. This venture aims at experimenting and conversing: experimenting with the curatorial proposal, artistic creation, self-organized function, and conversing with the artistic scene, the Athenian audience, and the place itself, which houses the project. As a structure, Enterprise Projects has been functioning independently and periodically since September 2015 in Ampelokipoi, Athens. In 2018, Enterprise Projects founded EP Journal, a publishing initiative in the form of an online publication of newly commissioned theoretical and research essays, in both Greek and English. The reader can browse online, download, or print each issue, presented with a design that reflects the needs of every text.

Diana Felber is a practicing architect and part of transit – Architectural Collective Leipzig. Since 2015, she has been teaching architecture and urban design at several universities, e.g. TU Braunschweig, TU Dresden, and BTU Cottbus. In her research she is focusing on the housing question with a special interest in housing typology. She is also an active member of the contemporary art collective (Kunstverein) KV – Verein für zeitgenössische Kunst Leipzig.

Minus Plato is the alias of Richard Fletcher, Associate Professor in the Department of Arts Administration, Education and Policy at The Ohio State University. Trained as a classicist, Fletcher created the blog Minus Plato as part of his research into ancient Mediterranean cultures and contemporary art. Following collaborations with artists (including Paul Chan on the book Hippias Minor or the Art of Cunning, Badlands Unlimited, 2015), Fletcher left classics and turned Minus Plato into a platform for de-colonial art education in on-going dialogue with the core themes of documenta14, the global art exhibition that took place in Athens and Kassel in 2017. Minus Plato’s first book No Philosopher King: An Everyday Guide to Art and Life under Trump was published in 2020 by AC Books. He is currently working on a collaborative book project with a group of documenta14 artists called Whisper into a Hole: Sketches for an Unfinished Exhibition.

Pélagie Gbaguidi (from Benin, born in Dakar in 1965), lives and works in Brussels. Gbaguidi calls herself a contemporary “Griot.” A “Griot” questions the individual as he or she moves through life by absorbing the words of the ancients and modeling them like a ball of fat that they place in the stomach of each passer-by with the ingredients of the day. In the practical sense, it breaks the commonplace rhythm by inserting subtle incidents integrating its part of eternity. Her work is an anthology of signs and traces on the trauma. In fact, it is one of her recurrent subjects, evidenced by the acquisition of 100 drawings of the Code Noir (1685) series at the Memorial Act in Guadeloupe. Her focus of interest is centered on the colonial and postcolonial archives and on the unmasking of the process of forgetting in history. This readjustment of the imaginary arouses in the artist the urgency to give it form, a writing of liberating images and a corpus to draw contemporary forms. This contributes to the process of transforming relationships for necessary, sustainable ethics.

Gbaguidi has participated in numerous international exhibitions such as: “Biennale of Dakar” (Senegal) 2004, 2006, 2008, 2014, 2018; “Asyl Stadtmuseum,” Stadtmuseum, Munich (Germany) 2013; “Divine Comedy: Heaven, Hell, Purgatory Revisited by Contemporary African Artists,” MMK Museum für Moderne Kunst, Frankfurt (Germany) 2014 and at the National Museum of African Art – Smithsonian Institution, Washington (USA) 2015; “El iris de Lucy,” Musac, Castilla y León (Spain) 2016 and at the Musée Rouchechouart, (France) 2016, and at CAAM (Spain) 2017. She participated in documenta 14 in Athens and Kassel, and contributed to the book “Why Are We ‘Artists’? 100 World Art Manifestos” by Jessica Lack, 2017. In 2018, she received a scholarship from the Civitella Ranieri Foundation. In 2019, she participated in “Decolonizing the Body” at Eternal Network Gallery in France, at the Lubumbashi Biennale, and exhibited at the Frohner Museum (Austria). In 2020, she participated in the current Berlin Biennale.

Eva Giannakopoulou, grew up in Ithaca, Greece, and she is currently residing in Athens, where she works. In the past she has lived in Naples, Barcelona, Istanbul, Berlin, and in other places depending on the circumstances. She has presented performances at various unconventional sites, including beaches, squares, rivers, parks, and impromptu stages in public spaces. Her work has been exhibited at museums, institutions, galleries, and festivals, including: the Onassis-Stegi Foundation (Kin Baby, FUTURE N.O.W, 2021) the Benaki Museum (“The Same River Twice”, 2019; “The Equilibrists”, 2016, both curated and organzed by the New Museum, Νew York and the DESTE Foundation), Goethe-Institut Athen (“Weasel Dance”, 2019), the Athens Biennale AB6: ANTI (2018), the Athens Biennale AB5to6: OMONOIA (2016), the Material Art Fair (Mexico City, 2017), the Rosa Luxemburg Foundation (Berlin, “Autonomy Help ME!”, solo exhibition, 2015), MPA-B (Berlin, 2014 and 2015), Action Field Kodra (Thessaloniki, 2012), and the National Bank of Greece Cultural Foundation (MIET) Thessaloniki Center (at a parallel event of the third Thessaloniki Biennale of Contemporary Art, 2011). She has co-curated and co-organized numerous art projects and performative events, while in 2013-2014, she was a co-labourer of the MPA-B (Month of Performance Art, Berlin). In 2019 she co-founds “Most Mechanics Are Crooks”, an artistic and curatorial band that aims to reclaim insincerity as a tool of progressive discourse. 

Clara Guixer (Barcelona, Spain 1990) is an art historian specializing in contemporary art with a Master’s degree in Cultural Studies (KULeuven, Belgium). She has worked at the Virtual Museum of Public Art of Barcelona elaborating critical artistic texts and reviews. She also worked for the Catalan Government on internationalization of cultural companies, and as project assistant for the contemporary artist Pélagie Gbaguidi during the exhibitions documenta 14 (2017) and the latest edition of the Berlin Biennale (2020).

Hypercomf is a multidisciplinary conceptual design artist identity, researching the relationship between nature and culture, domestication, industry, and science. This identity first materialized as a fictitious company profile in Athens in 2017. Hypercomf’s practice is both research and production driven; each subject informs a continuously developing narrative starring organic and inorganic protagonists, which manifests through interdisciplinary collaborations, space activations, multimedia artworks and sustainable design objects.

Hypercomf are currently artists in residence of the Studiotopia program at Onassis Stegi with the support of the Creative Europe program (2020–2022), finalizing the presentation of Biosentinel as part of the project La Table et la Territoire organized by Locus Athens Tavros, Athens (2021), and Resonate supported by the Stavros Niarchos Foundation Public Humanities Initiative at Columbia University (2020–2021). Examples of their most recent participations include Pioneer Works Visual Arts Residency Program, Brooklyn, NY (2019–2020), the online exhibition Anthropocene on Hold, Polyeco Art Initiative (2020), Lago Film Festival 2020 (Veneto Region Special Prize), Lago lake, IT, Στάση-Taking a Stance, 7th Thessaloniki Biennale of Contemporary Art (2019–2020), Super Host, curated by Like a Little Disaster and Pane Project, Polignano a Mare, IT (2019), Overexposure, 7th Syros International Film Festival (2019), Wasn’t it you who said that it was going to last forever, curated by Hypercomf, HausN, Athens (2019).

Myrto Katsimicha (b. 1991, Athens) is a curator based in Athens, Greece. She holds a BA in Media, Communication and Culture from Panteion University of Social and Political Sciences, Athens (2012) and a MA in Curating the Contemporary from London Metropolitan University and the Whitechapel Gallery, London (2014). Her research focuses on notions of collectivity and self-organization in the contemporary art field. In 2017–18, she was the 12-month intern in the Adult & Academic Programs, Education Department at the Museum of Modern Art in New York. Within the framework of her internship, she conducted field research on the independent art scene in Mexico City (Guilty Pleasures, EP Journal, 2019) and later organized and co-moderated the public program From Mexico City to New Yοrk: A conversation with Tamara Ibarra and Rachel Valinsky on collaborative practices and the links between independent art spaces and contemporary art institutions (MoMA, September 5, 2018). In the past, she has worked for art institutions in Greece and abroad such as documenta 14, Athens & Kassel; State of Concept, Athens; the Athens Biennale; and Phenomenon Anafi, among others. She currently works at Onassis AiR, artistic research residency program in Athens.

Panos Kompatsiaris is Assistant Professor of Culture and Media at the National Research University Higher School of Economics in Moscow, where he also heads the Master’s program in Critical Media Studies. He has published in various journals, including the European Journal of Cultural Studies, the International Journal of Cultural Studies, and Third Text, and co-edited the special issue “Crafting Values: Economies, Ethics and Aesthetics of Artistic Valuation” for the Journal of Cultural Economy (2020). He is the author of The Politics of Contemporary Art Biennials: Spectacles of Critique, Art and Theory (Routledge, 2017) and co-editor of the collective volume The Industrialization of Creativity and its Limits (Springer, 2020).

Eleftherios Krysalis completed his Bachelor’s degree in Art History and Theory at the Athens School of Fine Arts and his M.F.A in Media Arts and Design at Bauhaus-University, Weimar, on the chair of experimental radio and electroacoustic music. From 2018 until 2020, he was a DAAD scholarship holder. His master thesis was on the topic of Politics of Listening: Soundscapes from Ramallah, Palestine. He currently has a teaching position at Bauhaus-University, Weimar. His work consists of experimental radio formats and electroacoustic musical elements.

Vassiliki Lazaridou is a queer visual artist and filmmaker born and raised in the west side of Thessaloniki, Greece, in 1989. They studied Cultural Technology and Communication at the University of the Aegean (GR) and Cinema Theory at Université Paul Valéry – Montpellier III (FR). Lazaridou have worked as an assistant director and producer for fellow artists’ projects, as creative director, writer and curator. They hold a master in Communication & Media Rhetoric from Panteion University (GR) and are currently working on a multi-genre short film.
IG @killemole

Mylasher completed her further education as an Art Therapist & Naturopathic for Psychotherapy in 2019. She was a member of the artist group GALLERY FIST. From 2002 – 2011, she studied in the Class of Textile & Painting, Prof. Ulrich Reimkasten, University of Arts & Design, Burg Giebichenstein, Halle. She shows nationally and internationally. She was part of the Artist Collective KETKETVOOM together with Martin Feistauer from 2006 – 2011.

Marie-Eve Levasseur (*1985, Canada) lives and works in Germany. She studied visual and media art in Montreal as well as in Leipzig. Her works have been shown in many group and solo exhibitions in Montreal, Berlin, London, Paris, Hong Kong, and Zurich. In 2019, she received a grant from the Karin Abt-Straubinger Foundation. In 2020, she received a research and creation grant from the KdFS (cultural Foundation of the Free State Saxony).

Elena Loizidou is Reader in Law and Political Theory at the School of Law, Birkbeck College. Her research interests range from anarchism and political theory to theories of gender and sexuality, law and culture. Her publications include Disobedience: Concept and Practice,(Editor | Routledge, 2013); Judith Butler: Ethics, Law, Politics (Routledge, 2007); “What is Law?” in The Anarchist Imagination: Anarchism Encounters the Humanities and the Social Sciences (Routledge, 2019); “Law, Love and Anarchism” in Law and Philosophy: Critical Intersections (Rowman & Littlefield, 2018); “Sequences of Law and The Body” in Routledge Handbook of Law and Theory (Routledge, 2018); and “Dreams and The Political Subject” in Vulnerability in Resistance (Duke University Press, 2016). Her new book Anarchism an Art of Living with Law is forthcoming (Routledge, 2022). She is on the editorial board of Law and Critique.

Tamás Páll (b. 1989) is a researcher, game designer, and developer working in Budapest. His works and collaborations have been showcased at The Victoria & Albert Museum, London; Panke Gallery, Berlin; Trafó House of Contemporary Arts, Budapest; Transmediale, Berlin; and MeetFactory, Prague. He is a co-founder of the Rites Network art collective. His artistic research focuses on emergent world-systems, non-human technologies, and experimental role-playing and world-building as a cooperative practice. Páll is currently doing his artistic research PhD at the University of Applied Arts Vienna.

Pakui Hardware is the name for the artist duo Neringa Černiauskaitė and Ugnius Gelguda which began in 2014. The artists live and work between Berlin and Vilnius. Solo exhibitions include BALTIC Centre for Contemporary Art, Gateshead, UK; carlier | gebauer, Berlin; Museum der bildenden Künste Leipzig (MdbK); Tenderpixel gallery, London, Bielefelder Kunstverein, Germany; MUMOK, Vienna. Past group exhibitions include MOCO La Panacée, Montpellier, France; Istanbul Biennial, Istanbul, Turkey; CCA Tel Aviv, Israel; MAXXI, Rome; Musée d’Orsay, Paris; Kunsthalle Basel, Switzerland; 13th Baltic Triennial at CAC, Vilnius; BOZAR, Brussels.

Antonia Rahofer (Vienna/Linz, Austria) is a curator, critic, and cultural manager with a focus on film and media art, documentary strategies and the interview as an artistic practice. She has been working as a lecturer at universities and art schools in Austria and internationally since 2009.

Sakrowski works and lives in Berlin. From 1999–2003, he curated exhibitions and lectures on net art within the project netart-datenbank. From 2007–2009, he worked as a freelance researcher on the “Netzpioniere 1.0” research project at the Media.Art.Research Institute in Linz. Since 2007, he has been working with the phenomena under the name CuratingYouTube and provides a specially designed online tool with (2012). From 2014–2015, he worked as curator for the transmediale festival “capture all.” Since October 2016, he has been managing and curating the

Jonas Staal is a visual artist whose work deals with the relation between art, propaganda, and democracy. He is the founder of the artistic and political organization New World Summit (2012 – ongoing) and the campaign New Unions (2016 – ongoing). He co-founded the New World Academy with BAK, basis voor actuele kunst, Utrecht (2013 – 16), he is currently directing the utopian training camp Training for the Future with Florian Malzacher (2018 – ongoing), and he is co-administrator of the Obscure Union with Laure Prouvost. Exhibition projects include Art of the Stateless State (Moderna Galerija, Ljubljana, 2015), After Europe (State of Concept, Athens, 2016), The Scottish-European Parliament (CCA, Glasgow, 2018), and Museum as Parliament (with the Democratic Federation of North Syria, Van Abbemuseum, Eindhoven, 2018 – ongoing). His projects have been exhibited widely at venues such as the V&A in London, Stedelijk Museum in Amsterdam, M_HKA in Antwerp, and Moderna Museet in Stockholm, as well as the biennales of Berlin (2012), Kochi (2013), São Paulo (2014), Gothenburg (2017), Warsaw (2019), and Taipei (2020). Publications and catalogs include Nosso Lar, Brasília (Jap Sam Books, 2014), Stateless Democracy (with co-editors Dilar Dirik and Renée In der Maur, BAK, 2015), Steve Bannon: A Propaganda Retrospective (Het Nieuwe Instituut, 2018) and Propaganda Art in the 21st Century (The MIT Press, 2019). Staal completed his PhD research on propaganda art at the PhD Arts program of Leiden University, the Netherlands.

Nora Sternfeld is an art educator and curator. She is professor for art education at the HFBK Hamburg (Academy of fine Arts Hamburg). From 2018 to 2020 she was documenta professor at the Kunsthochschule Kassel (School of Art and Design Kassel). From 2012 to 2018 she was professor for Curating and Mediating Art at the Aalto University in Helsinki. She is co-director of the /ecm – Master Program in Exhibition Theory and Practice at the University of Applied Arts Vienna; a co-founder and part of trafo.K, Office for Art, Education and Critical Knowledge Production (Vienna); and since 2011, a member of freethought, a platform for research, education, and production (London). In this capacity she was one of the artistic directors of the Bergen Assembly 2016 and is 2020 BAK Fellow, basis voor actuele kunst (Utrecht). She publishes on contemporary art, exhibitions, politics of history, educational theory, and anti-racism.

Paul Soulellis is an artist and educator based in Providence, RI. His practice includes teaching, writing, and experimental publishing, with a focus on queer methodologies and network culture. He is founder/director of Queer.Archive.Work, a non-profit community reading room, publishing studio, and project space, and Associate Professor of Graphic Design at the Rhode Island School of Design. Paul writes and speaks about art, design, and experimental publishing internationally, was a Design Insights speaker at the Walker Art Center in 2018, and was a featured speaker at the Eyeo Festival in 2019. Paul is also the founder of Library of the Printed Web, a physical archive devoted to web-to-print artists’ books, zines, and printout matter, now housed at MoMA Library in NYC.


The Temporary Academy of Arts was initiated by Elpida Karaba in 2014. PAT (the abbreviation of Temporary Academy of Arts) is a mobile academy of arts and at the same time an art project of experimental education that adopts mechanisms from various systems of knowledge and art practices for the production and transmission of artistic programs and the construction of their historicity. PAT is a para-institution engaged with a range of activities involved in different levels of institution affiliations. It depends on an ‘expanded’ curating, incorporating exhibitions, events and publishing projects persistently addressing the relationship of art and its institutions, the labour involved and the public.  

The Academy is working upon different educational, artistic and social models and adopts a research based and multidisciplinary approach to knowledge production, in order to investigate the boundaries, permeabilities and repressed contradictions that underlie public spaces. Rather than being merely an educational platform or an art school, PAT functions as an analytical tool, concentrating on spatial and institutional criticism. PAT’s projects, combine the symbolic with the mediated and the tactical in order to examine art and its production, inquire on the status and potential of art to address the urban condition and to question the mechanisms of producing and framing knowledge.

In each project of the Academy, different artists and theorists are invited as educators, visitors or as consultants to organize and carry out the outcome of the project while different modes of art and educational practice are used, such as workshops, discussions, interviews, performances, (re)enactments etc.

Theophilos Tramboulis is a publishing director, exhibition curator, translator, and writer. He studied Philology at Aristotle University of Thessaloniki and Linguistics at Paris III, Centre Censier in Paris. He served as an art director in Action Field Kodra in the municipality of Kalamaria, and organized many exhibitions, including the Hypnos Project of Onassis Stegi, while in the recent years he co-curated the public art project The Steps Spirit in Agios Nikolaos, Crete. Among other publications, he was the publishing director of the exhibition catalogs Outlook, Destroy Athens, the 1st Athens Biennale, and Agrimika, the official Greek participation in the Venice Biennale. He has also been a member of the editorial team of unfollow magazine and his articles have been published in various Greek and international journals.

Penny Travlou is a Lecturer in Cultural Geography and Theory (Edinburgh School of Architecture & Landscape Architecture, University of Edinburgh). Her research focuses on social justice, the commons, collaborative practices, cultural landscapes, and ethnography. She has been involved in international research projects funded by the EU and UK Research Councils. Since 2011, she has done ethnographic research on collaborative practices in emerging networks (e.g. digital art practitioners, collaborative economy initiatives, translocal migrants); her most recent research is on cultural commons in Colombia. Alongside her academic work, Penny is an activist for social justice and the commons. She has been actively involved in a number of grassroots and self-organized initiatives on housing and refugees’ rights. She is Co-Director of the Feminist Autonomous Centre for Research  in Athens, a non-profit, independent research organization that focuses on feminist and queer studies, participatory education, and activism.

Evita Tsokanta works as a writer, educator and an independent exhibition-maker based in Athens. She received her BA in Art History and English from Rutgers University, U.S.A., and her MA on Cultural and Creative Industries from King’s College London. She lectures on curatorial practices and contemporary Greek art at the Columbia University Athens Summer Curatorial Program and Arcadia University College of Global Studies. She has contributed to several exhibition catalogs (including “Songs for Sabotage,” New Museum Triennial, 2018) and journals (including South, as a State of Mind and The Art Newspaper, Athens). Previously, she curated solo and group exhibitions such as Keep on Keeping on: a visual meta-collection at the American College of Greece Gallery, Reverb: New Art from Greece at Boston Museum of Fine Arts School, U.S.A., and the 4th Athens Biennial, AGORA, among others. She has collaborated extensively with independent art spaces in Athens including 3 137, Enterprise Projects, State of Concept and Snehta. In 2019, she completed a writing residency in Leipzig supported by the Goethe Institute. Since 2020, she has been collaborating with Kickstarter Arts.

Vangelis Vlahos’ (Athens, Greece, 1971) work centers on sociopolitical events of Greece’s recent past in order to revisit and reinterpret them. His archives, texts and videos build up a network of references and relations, testing the possibility of seeing and understanding different moments from the past outside of the dominant narratives.

Since 2004 he has participated in various exhibitions, among which are Manifesta 5 in San Sebastian and 3rd Berlin Biennale in 2004, Behind Closed Doors at Dundee Centre for Contemporary Arts in 2005, the 27th São Paulo Biennale in 2006, the 11th Istanbul Biennial, ISLANDS+GHETTOS at NGBK in Berlin and Monument to Transformation in Prague’s City Galley in 2009, To the Arts, Citizens! at the Serralves Museum in Porto in 2010, the 3rd Athens Biennial and The End of Money at Witte de With, Rotterdam in 2011, Gesture in  Kunstverein Stuttgart in 2014, The Fall at Rodeo gallery in Istanbul in 2015, The Triennial 50JPG, CAMÉRA(AUTO)CONTRÔLE at Centre de la photographie in Genève in 2016, The Kids Want Communism (Notes on Division) at Museum of Fine Arts in Tel Aviv, Antidoron – the collection of the National Museum of Contemporary Art of Athens (as part of Documenta 14) at the Fridericianum Museum in Kassel in 2017, The Trials of Justice at La Colonie in Paris, When the Present is History at Depo in Istanbul and the 7th Thessaloniki Biennial in Thessaloniki in 2019.

His projects are in private and public collections including the Tate Modern in London, the Magasin III Museum & Foundation for Contemporary Art in Stockholm, Sweden, the National Museum of Contemporary Art in Athens, Greece and the Teixeira de Freitas Collection in Lisbon, Portugal.

Ina Wudtke studied art at the Academy of Fine Arts in Hamburg. From 1992 until 2004 she edited the queer-feminist artist magazine NEID. In this context she organized several music events, exhibitions and debates. Her research-based work questions hegemonic political discourses and strenghtens counter-discourses on themes such as gender, work and housing. With the Belgian philosopher Dieter Lesage, she wrote the book Black Sound White Cube (Vienna, Loecker, 2010). In 2011, she released a conceptual album on gentrification entitled ‘The Fine Art of Living’ under her pseudonym T-INA Darling. The book The Fine Art of Living (Berlin, Archive Books, 2018) presents a decade of her artistic work on the housing question. Since 2015 she is running the project space after the butcher. exhibition space for contemporary art and social questions, together with it’s founders Thomas Kilpper and Franziska Böhmer. From 2018 to 2020, she was artistic researcher for documenta professor Dr. Nora Sternfeld at the Art Academy in Kassel. Ina Wudtke lives since 1998 in Berlin.

3 137 is an artist run space based in Athens, founded by the artists Chrysanthi Koumianaki, Kosmas Nikolaou, and Paky Vlassopoulou in 2012. The space is an artists’ initiative, which aims to create a meeting point for exchange, discussion, and research. Its projects place emphasis on collaboration, hospitality, and hybrid forms of being together. Lately, 3 137 has established the immaterial institution GabrielaGabriela deals with issues of sustainability, labor, and institutionalization questioning the role of artists‘ initiatives.