<logo  to exei ftiaksei o giannikos einai afto pou einai aristera kai episis kato kato sto proto keimeno edo deksia to mono eikonidio pou tha trexei sto site mou einai to logo... otan klik to logo> prepei na bgainei kartella me geniko keimeno apo tin mia pou einai afto to jpg... deksia isos ligo pio megalo? i alli plevra tis kartas exei ta projects se arithmisi pou akolouthei... yparxei ena thema edo giati to bE gainetai na exei ki allo bathos mazevontai ta projects gyro apo afto.> Yparxei ki ena poli megalo keimeno ego bazo edo to mikro...       the “built event” series         The built event projects are pushing to the limits the investigation on specific places: "what a place in itself could be?"  is the leading question that resumes the projects addressed each time to a different specific place. After the description of any ontology as an invalid performance, the question " what a place is?"  could be transformed to a different one:  " what a place could be?".  An accumulation would then form an answer to the question of being than an abstract, general answer. In their complex strategy the built event projects elaborate a fixation to specific and insignificant places, in order to observe and record different possibilities of determination in indetermined conditions. The theatricality of the places is deployed in the triple schema " theater play – action – remains"  that haunts any theatrical production. The place and a prepared action towards it show different possibilities of deployment of the same theme. But is the place itself the center of the intense works or the prepared action towards it? The only possibility to judge lies in the few remains of each work, prepared and binded in the form of a big rechargable book.		Built Event is the name of a series of projects inaugurated together with Filippos Oraiopoulos.
island_BuiltEvent1   duration:  february 2005 - september 2005   around the deserted island of Youra               1 handmade book + 1model of the island + 1 vast archive of the recordings and the works on the island	http://www.flickr.com/photos/hospi-table/sets/72157602370385057/    http://flickr.com/photos/antonas/sets/72157594565197947/   http://islandbuiltevent.blogspot.com/   Different installations of the book, the model and the archive shown in Barcelona, Spain (Landscape Biennial 2006), Sao Paulo, Brazil (Architecture Biennial 2007), Mestre, Italy (Galleria Contemporaneo 2008).
2bridges_BuiltEvent2   around 2 bridges of Tavronitis River, Crete   duration:  march 2005 - september 2005   http://2bridgesbuiltevent.blogspot.com/   http://www.flickr.com/photos/hospi-table/sets/72157602360469669/	We were seeking of a bridge but we didn’t know that the specific 2 bridges in Tavronitis would be our focus. It happened that we found 2 bridges : the site became more important than the research principles that were guiding us till then. This was the case for every year’s specific insignificant places. The research for the place was abandoned after the place was found, it would have no interest after the choice of a place. The place was after the research the “only” concept that the working team put as a starting point, always involving the persistence of a conceptual theme. The place, in its “built event” version is never simply “in itself”. This acceptance creates a difference in any place’s architecture; the place’s “presence” denies the metaphysical conception of place in this case: presence seems to be organized (in built event’s structure) as a heterogeneous pile of concepts, non articulated and juxtaposed. The structure of the bounding of a book makes this concept of place more solid. The only stability that makes a place persisting as a place is its possibility to bound together different conceptual layers. The place is defined through this possibility of keeping different versions together: it is formed as a rechargeable book.  “Built event” came out of this architectonic investigation that began to focus on insignificant specific places. Furthermore “built event” is conceived as a way of defining places through meetings of people in situ and through a collection of the material they bring. By the definition of this “built event” procedure, the works were installing a singular relation between the selected places, their “conceptual constitution”, the common witnessing of them by a group of people, the collection of the visit’s remains in the form of a book. The “built event” strategy was aiming to propose a particular curatorial work, focused to a concrete locus. This curating of meetings and remains was creating a prepared inversion. Focusing on a particular place was finally conceived as a cloud of different approaches to something missing: the place; the focused place, through this focus, appeared blurred again, lost in an archipelago of multiple isolated approaches. The work was voluntarily an exercise of conceptual dispersal while the target appeared to be a blown up concretization. Focusing created a particular dispersal of meaning, controlled through the invited and joined participants, through a common constructivity.
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waterTank&riverBed_BuiltEvent3   around the St John's waterTank in Chania, Crete   duration:  june 2006 - september 2006	A “built event” repeats a specific procedure that has the appearance of a pseudo methodology: Its series of works end up with a real result formed as an open bounded book: the book is bounded with screws: it can open, be recharged and bounded again. The works deployment consists in the collection of the pages that form this book. The collection of the pages is done through a specific scenery that includes a place and a group of people. The built event works are done in the background of a self recording. The theatrical act in built event works is work itself. This built event theatrical experience of working consists in an approach to a place that is under construction. A built event work includes the following steps: 1. Selection of a place / 2. Naming the work / 3. Invitation of people- selection of working team / 4. In situ visits / 5. In situ workshop / 6. Collection of the visit’s and workshop’s traces / 7. Construction of the trace book.	WaterTank&RiverBed is a project on the hidden  water infrastructure in the city of Chania, Crete. The hidden landscape is examined through a node of the system's network, the st John's Water Tank on a city's hill. The reference to an existing river landscape marks the question of origin and includes the dialectic of storing and flowing: a control of this dialectic organizes the water infrastructure.
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Abattoir_BuiltEvent4   around the small abattoir of Hydra Island announced to be transformed to a Cultural Centre   prepared but not performed   http://flickr.com/photos/antonas/sets/72157600015637917/
HospiTable_BuiltEvent5   around the small abattoir of Hydra Island annonced and transformed to Cultural Centre   duration:  august 2007 -
SuperMarket_BuiltEvent6   around a Super Market in Chania, Crete   duration:  august 2008 -

Paradigmata	http://flickr.com/photos/antonas/sets/72157594380993376/	"Paradigmata" is executed together with Harikleia Hari, Filippos Oraiopoulos and Zafos Xagoraris. The project was selected to represent Greece in the 9th biennale of architecture in Venice. The project intended an impossible representation of 4 insignificant places. The description of the places was undertaken by invitees that left behind them after a group visit to the places, elements for a possible description. The collection of these elements, presented on 20 tables, formed the show.	4 skitsa aneksartita

Gregorios Pharmakis     www.gregorios-pharmakis.blogspot.com

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theatrika	http://flickr.com/photos/antonas/sets/72157605956274686/	theatre plays - shows         The production of theatre plays and the constructions of shows follow a similar logic and question the limits of theatricality. The shows are usually a representation of already performed actions that were done within an auto-recorded process. The theater plays are directions that can be performed again with very different results. The concept of theater play itself, promote the idea of a predetermination that has its own limits and its own definitive characteristics. The plays instructions are always accurate but open, so that each representation of them can look different. Theater plays are prepared for an execution but they can never predefine any exact form of it. They are open architectures for narratives: in the same way a house predefines a series of narrations, the written plays predefine different performances, different ways of reproducing same schemata in different versions. The plays are platforms of possible versions, even if sometimes they look so concrete. The consciousness of this theater play concept is a ruling background concept for all the shows and the theater projects. There is a concern for the predefinition of a play, a concern for an important action and finally for the action’s remains. In each play different elements of this triple theatric series are in a different way important. But it is this three parted sequence of the theatric action that control in the same move the procedure and the result.
LE BUREAU     [ 2006 ]
ON HOFFMANN AND FREUD     [ 2008 ]	http://antonas.pbwiki.com/hoffmann+++freud
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