Editorial

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74 Four massive "walls" made of dozens of old picture frames each hanging from a metal frame on the ceiling make up the installation. The frames hovering above the viewer’s eye level form an architectural territory, an elevated space. Familiarity, despite the overwhelming size, invites us to step into the "interior" space: layers of seaweed grow out of the picture frames. A claustrophobically enclosed space, destructing and forbidding familiarity and estrangement, passage and blockage, remembrance and forgetfulness coexist. (Antonis Danos) Antoniou’s installation aims to understand "truth" as being fluid, like the seaweed’s growth; always subject to memory’s ability to remember, yet constantly alternating, in a way that the past cannot conflict with the sense of present – or future – personal and national identity. (Artemis Eleftheriadou) helene black Born in 1950, in Cyprus and grew up in Australia. Since 1992, she has been living in Limassol, Cyprus. Studied art at MTC, Melbourne University, with further parttime studies at the National Art School, Sydney. Her work has featured, amongst others, at the Soders International Art Biennale, Stockholm (2003); Buenos Aires Art Biennale (2002); "Festival of Arts and Sciences", Aix-les-Bains, France (2001); "Cinema Concrete", dLux Media Arts, Sydney, (2001); "Blanc sur Blanc", Saint Etienne Museum of Modern Art, France (2001); "Medi@terra 2000", The Factory, Athens; "Through The Looking Glass", Beachwood Centre for the Arts, Ohio, USA (2002). She was awarded 1st prize (Cyprus) at the "Homage to Vincent Van Gogh" compe- tition (1996), and her entry was selected for the permanent collection of the Foundation Vincent Van Gogh, Arles, France. She is a founding member of NeMe, an interdisciplinary collective. [www.hblack.net;www.neme.org] Helene Black’s Relative Distance echoes the dynamic of her own name, for a distance is embedded in it – and sustained. It is also recognition of the distance inherent in all names. Black, a Greek Cypriot, migrated as a child to Australia then returned to Cyprus, yet not as a return to close a cycle, for her insistence of retaining the anglicised version of her name is a choice to stay in the breach – a moving ambivalence, a simultaneous refusal and embrace of belonging. Black’s body of work over 30 years includes, among other concerns, a concentration on the physic mediations of portraiture – whether painting, photography or, more recently, film. Through these mediations within portraiture Relative Distance incorporates "Time" as a central motif – central because it is always possible to return to a place, but time is irreversible. (Denise Robinson) Helene Black’s Relative Distance constitutes another invitation into familiar - yet displaced - territory. In the dim light of a room’s interior, we are visiting a woman’s story (of her life). The projection screen is dominated by her presence, filmed in her living room’s surroundings. Hegemonic - moral, social and economic - discourses have colonised, however, her narrative as much as they have been inscribed on her body, sited as little more than a 'stage prop', in the second, nearly static projection. In the row of images along the room’s exterior surfaces, her space has now also been
Helene Black, Relative Distance, 2004–2005. Installation with framed photograph, canvas screen, Plexiglas screen, monitor. conquered and looted, containing only her absence. Her final filmed portrait is protest, is exposure (of her as mush as of her colonisers), and is, perhaps, a sole glimpse of (her) empowerment. (Antonis Danos) melita couta Born in 1974. Studied sculpture at Central St. Martins College of Art and Design, and at the Slade School of Fine Arts, London. Her participation in group exhibitions include, amongst others, "A View to the Mediterranean Sea: The Cyprus Case", Herzliya Artists’ Residence, Israel (June 2005); "100 Artists for a Museum", Casoria International Contemporary Art Museum, Italy (May 2005); "Accidental Meetings", Municipal Arts Centre, Nicosia; "Openasia: 7" Exhibition of Sculptures and Installations", Lido, Venice (September 2004); "Mythology: A bet on imagination, a bet on art", The 9th Cairo Biennale (December 2003); "Chaos and Communications": 10th Biennale of Young Artists from Europe and the Mediterranean, Sarajevo (July 2001). She has designed sets for theatre productions in Cyprus, Malta and the UK. She lives and works in Cyprus. [www.melitcouta.com] In Melita Couta’s installation - collages Urban Legend fragments of familiar objects, bodies and buildings are arranged in unfamiliar relational compositions creating a simultaneously utopian and dystopian landscape. She seems to be mapping a world in the process of its own making, one made up of bodies and structures themselves in the process of developing. Her assemblages constitute views - better, still - of a universe constantly changing, re-arranging, re-forming. (Antonis Danos) Couta’ s collages form worlds whose con- 75
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Editorial The majestic, awe-inspiri
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The Olive Tree and Olive Oil in the
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Different stages in the production
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Homer called it “golden liquid”
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Ancient old olive tree. (Photo: N.
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1984, 231 no. 771). The olives, whi
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The best Mediterranean diet: vegeta
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the Olives in Antiquity in Cyprus),
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Madonna Francesco da Rimini - Virgi
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Virgin Mary the Merciful (Eleousa),
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22 Subjects that can be seen in ree
Page 24 and 25: 24 Saints John Prodromos and Theolo
Page 26 and 27: 26 a conscious attempt by the artis
Page 28 and 29: 28 In a ceremony held on 24 Novembe
Page 30 and 31: 30 manent Director at the Theatre D
Page 32 and 33: 32 relevant department, the setting
Page 34 and 35: 34 Kypr K Y P R I A K Y P R I A K Y
Page 36 and 37: 36 The Kypria International Festiva
Page 38 and 39: 38 The last programme also featured
Page 40 and 41: 40 human bitterness, pain and suffe
Page 42 and 43: 42 10 PIANOS AND ORCHESTRA The Stei
Page 44 and 45: 44 The annual Paphos Aphrodite Oper
Page 46 and 47: 46 Red polished figurines, clay, La
Page 48 and 49: 48 in this field is greatly due to
Page 50 and 51: 50 Hala Sultan Tekke Restoration A
Page 52 and 53: 52 Cypriote Antiquities in the Muse
Page 54 and 55: 54 Limestone female statue, 6th cen
Page 56 and 57: 56 Anthropomorphic jug of White Pai
Page 58 and 59: 58 WAR and CULTURAL HER The consequ
Page 60 and 61: 60 Modern Greek Studies Yearbook (n
Page 62 and 63: 62 The Minister of Education and Cu
Page 64 and 65: 64 Minister of Education and Cultur
Page 66 and 67: 66 Erato Hadjisavva, Wave. Video in
Page 68 and 69: 68 Savella Michael, untitled. Ink,
Page 70 and 71: 70 Helene Black, Relative Distance,
Page 72 and 73: 72 The Curator’s concept Antonis
Page 76 and 77: Melita Couta, Objects of Desire, 20
Page 78 and 79: 78 130 years in the same pace, two-
Page 80 and 81: 80 Evgenia Vasiloude, Hymn to Demet
Page 82 and 83: 82 Terpandros Exhibition
Page 84 and 85: 84 Michalis Georgiou addressing the
Page 86 and 87: 86 The Terpandros Orchestra playing
Page 88 and 89: 88 Greek composer Mikis Theodorakis
Page 90 and 91: 90 Vicenza Numismatica of Vicenza,
Page 92 and 93: 92 until her family was forced to l
Page 94 and 95: 94 Vassos Lyssarides was born in th
Page 96 and 97: 96 Poems by Vassos Lyssarides Nosta
Page 98 and 99: 98 A major programme for the Compos
Page 100 and 101: 100 The International Committee for
Page 102 and 103: The Orpheus Mosaic is the largest s
Page 104 and 105: 104 Annita Santorineou in Sophocles
Page 106 and 107: 106 under the direction of Nicos Sh
Page 108 and 109: 108 The Theatre Organization of Cyp
Page 110 and 111: 110 The "Cyprus Film Days 2006" fes
Page 112: 112 New State Orchestra Conductor S
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Editorial

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