visits on art, design, architecture and literature

Athens; “BLESS” at Radio Athenes

A short visit in Athens few days ago, caught me by surprise of the amazing installation by BLESS at Radio Athenes, where its  dynamic founder Helena Papadopoulos full force completed an amazing installation on the ground floor of the space and continue ‘aggressively’ but yet so beautifully on first floor at her  living space; indeed, an installation with no limits!

The Paris and Berlin based duo BLESS (Désirée Heiss and Ines Kaag) refuse to capitalize on any one milieu, and instead explore the differences between, and the mixing of, the systems of art, fashion, and design. They glide over the conventions of production, distribution and display to create things (to wear, to use, to look at, to smile at) for now and forever. Their collections are titled to reflect a current mood that may ostensibly last for many seasons to come, questioning consumerist behavioral patterns and proposing instead a ‘Present Perfect Continuous’.


They came  to Athens to inhabit the Radio Athènes headquarters at 15 Petraki Street and the  private apartment on the first floor of the same building.  They transformed these interior spaces into a BLESSHome and  presented their ideal and artistic values to the greek public for the first time.



What they do is not so easily summed up. “Many of our clothes are not spectacular catwalk items, but aim to be all time favorites for everyday life,” says BLESS. The collections they create (which is classified by a number rather than a season) feature reinvented garments like the N°10 pleatskirtscarf, a combination of a pleated skirt and scarf. Their projects remain somewhat simple, inspired by the ins and outs of daily life. (somethingabloutMagazine)


The work of BLESS has been exhibited internationally including the 1st Berlin Biennial, the Musée d’Art Moderne de la Ville de Paris, the Centre Pompidou, Paris, Manifesta 4, the Palais de Tokyo, Paris, the Moderna Museet, Stockholm, the Stedelijk Museum Bureau, Amsterdam, the Goethe-Institut, Tokyo, the Museum Boijmans Van Beuningen, Rotterdam and the Istanbul Design Biennial.





Is BLESS more successful in Berlin or Paris? Where do you more commonly see your garments worn?

Neither nor. BLESS supporters are spread all over the world. In Berlin or Paris, (there) is a concentration of friends and family. The ambitious aim in the beginning was that we wanted to feel like ‘Europeans’ are still relevant; we still don’t care if we get labeled in articles as French or German designers. With time it became more important to concentrate the energy we need for production more in a local context, but the outcome of our work is really without destination. With our perspective as a niche-designer, we appreciate that modern media spreads the information round the globe and connects us with like-minded people from far destinations.(Interview at somethingablout Magazine) 


all photos@VK by permission
Radio Athènes institute for the advancement of contemporary visual culture is a non profit organization  in Athens. Radio Athènes was conceived and founded by Helena Papadopoulos in December 2014 with founding member Andreas Melas. The centre of operations that doubles as a bookstore is on 15 Petraki Street in Athens, Greece, zip code 10563, near Mitropoleos Square. The nearest metro stops are Syntagma and Monastiraki.

Munich; Thomas Struth at Galerie Rüdiger Schöttle

12.11.2015 – 30.01.2016

Last week, a quite impressive exhibition opened by Thomas Struth at Rüdiger Schöttle gallery, with new cycle of work.

The work “Research Vehicle, Armstrong Flight Research Center, Edwards, 2014” shows a simulator that the Apollo astronauts used from 1964 onwards to practice the moon landing.

On his trip  to South Korea in 2007, Thomas Struth photographed tankers under repair in one of the world’s largest shipyards and a semi-submersible drilling rig.  Since this trip, industrial innovation and scientific achievements have been the center of the artist’s attention.

Struth - Research Vehicle_72dpi
Thomas Struth
Research Vehicle, Armstrong Flight Research Center, Edwards 2014
Inkjet print, 145,8 x 196,7 cm
© Thomas Struth, courtesy Galerie Rüdiger Schöttle

Struth said: It is clear that the contemporary human imagination is more easily fired by the pyrotechnics of science and technology rather than by the difficult, and perhaps now historically discredited, negotiation of political ideals. I wanted to open the doors to some of these unseen places in order to scrutinize what our contemporary world–what we–create, depicting plasmaphysics and chemistry, ship- and oil rig-building, space shuttle repair, architecture, etc., as what our minds have materialized and transformed into sculpture.”

While you walk the 2 floors of the gallery,  visitors view the inner workings of these facilities, their machines and contraptions, and the frequently inaccessible spaces of scientific research, as the artist places his focus on medical institutions and test laboratories with their instruments and equipment.(gallery press) 

The large format images are mesmerizing. They convey the fascination we have for instruments that embody scientific and material innovation but distract us from the calls for social and political progress.

71 Kopie

Installation view of the exhibition by Thomas Struth at Galerie Rüdiger Schöttle, Munich, photo: Wilfried Petzi
Struth_11431_Z-Pinch Plasma Lab_72dpi
Thomas Struth
Z-Pinch Plasma Lab, Weizmann Institute, Rehovot 2011
Inkjet print, 131,8 x 158 cm
© Thomas Struth, courtesy Galerie Rüdiger Schöttle

Without any human presence as witness and indication of space and time, a categorization of the content in terms of past, present and future is not instantly possible. (gallery press)

“….My interest, or hope, or intent is to address something which has a larger scale, a larger value, than the specific details or locations shown. The photographs must ultimately be driven by interests on a more general level.” (Thomas Struth, retrieved from This Place) 

Quotes taken from Thomas Struth in conversation with Charlotte Cotton, 2014. This Place. Retrieved from This place



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