Monday, December 5, 2016

If I were a rich man...dubi,dubi,dubi....

So as that song goes,I will paraphrase a bit: If I were a musician,dubi,dubi,dubi dubi,dubi,dubi,dubi,dub I would take the accord minmaj7 and apply it to as many scales I want and test the sounds produced, then... What's so great about minmaj7 then? ok, it is the only accord that can have both sharps and flats at the same time , for instance Gminmaj7 goes as such: G, flatB, D, sharpF. So now based on the continuum I become a sculptor: If I were a sculptor,dubi,dubi,dubi,dubi,dubi dubi,dubi,dub I will make a sketch to show an idea of a sculpture : this will be two rocks treated in a substractive manner and a figure leaping from one rock to the other treated in a realistic (sort of) manner. This will be a minmaj 7 sculpture. If I find someone to sponsor it I will make it in bronze. I can make better sketches than that, but that's not the point right now And now I will become a thinking person following the same continuum If I were a thinking person, dubi,dubi,dubi,dubi,dubi,dubi,dubi,dub I would think that in the matter of the people that have left one place A and still haven't gotten to a place B, the places A and B may be looked upon as vague, since A is no longer in the picture but neither is B (at least not yet). But what is very specific and alive is the people who are finding themselves in the intermediate state of being, and must be treated as such.(accordingly). This is a minmaj7 view of the issue of transferring people. And to come to me, who knows who I am after all...

Sunday, November 27, 2016

26/11/'16- documenta 14 again

With the excuse of the very intriguing seminar that I experienced in the assemblies organized by documenta14, I want to share the thoughts that were provoked by the  line of thinking of the speakers -writers.
There  was a presentation of the new book written by Mauritsio Lazzarato and Eric Alliez,  and it was a good chance to ponder on the subject of their  new book 'Guerres et Capital' .
So my thinking went as such:
(imagine I am talking to them)
'...We don't speak the same language so please make an effort to understand .The Parliament of Bodies (which is a term induced by documenta 14 in Athens), is not a gathering of philosophers from what I understand, (or maybe it is in a sense, I am not sure), so I happen to be here   as someone interested and acquainted with that type of conversation but not using the language of philosophy exactly.

Four questions formed in me, the first I also posed to the speakers-writers,  at the assembly,
and also after I elaborated on my initial question by myself,
I got some positive feedback on my train of thinking, at a brief  private conversation  with Eric Alliez .
The three questions after that,  are  primarily expressed to you to reflect upon..

1. What did the antipode do (and  at what point of its possible doing) to make the capital need or think it needed  to drive things to a war?
( by antipode, I mean any subject that receives the capital's actions).
The answer was that  the antipode of the capital didn't do anything, the war was already there ,the war exists.
But, (I continue thinking after their answer), if the war is, then between who is it taking place? One who needs to colonize for the needs of the capital, that has to expand or needs to enslave and so forth,  and the other.
Now what is not so clear, at least to my realization, is the process the 'other','or 'the antipode', ot 'define it as you like', is going through.
The other  coexists with the capital in an  always present kind of subwar, lets say, until it enters a phase of "openness with no frame." as I call it, which is what  the capital is waiting for.
Once noticed, it  takes advantage and moves in to colonize or expand or /and destroy the other in any possible way.
Now why the other falls into that trap?
maybe it is inevitable by its nature, or for any other reason.
Perhaps an awareness of this process will help  the antipode find ways to prevent this outcome.
In my discussion with Eric Alliez after the seminar ended, he agreed that my idea about the  'openess with no frame' goes in the same logic of the 'need for organisation of the others', which was mentioned by them in the assembly.
Now, just listen   to the words I will be using in the following sentences.
-For a war to be there are needed two sides
-Each side plays  its part
- They both engage in the game of war
So the words to be noticed are war, parts, plays, game.
We use the following  saying in Greece (and elsewhere I think).
'the theatre of war '.
To our territory now: What is theater?
A quick answer from wikipedia:
when we mean the space involved, it is: 'A place for viewing '.
So , I think, the definition  involves  spectators.
Who are the spectators in a war?
And my second  question forms as such:
What kind of twist  in the human nature drives people to need to see humans killing other humans?
At the second day of the seminar, the two writers presented  to the audience a very clear  vision by example
So I am saying to them(imagine):
Thank you very much for the so clear paradigm of external -internal colonization through the use of violence by France toward Algeria (external), and the state toward  the French proletarians (internal) , in the past.
Why thank you?
Because today au contraire, I feel very ,very not clear when it comes to similar issues.. It helped  feel more intense my contradiction about what is going on now.
And I will explain what I mean:
The colonizer in a country is the invador and that involves some exert of power .
Now here, a wave of refugees has invaded my country and their power is in their need. They have the human right, they are relying on my sense of humanity, but I can't help still feeling invaded.
So in that sense I take the role of the Algerians and the refugees are the French only they don't possess weapons of violence, but their need as humans.
The moment they show up at our door, (and I literally mean that they are passing, groups after groups,from my front door in the village  where I  originally come from , Perama, Lesvos island),
the majority are strong enough to survive the journey, they  have money and cellphones, and are looking into the future. (except of couse of some poor weaker creatures that were drown),
I wonder how I can say all that after I have seen tremendous document films on the African crossing to Europe through the meditarrenian, but still I do.
Then , the Greek goverment with the help from Europe, organized them in camps and that gave me temporary relief !(I have to admit,how much more horribe can I get?),
  now they are a potential power awaiting....yet established ,in our country,
It actually reminds me a bit of the dourios ippos, the horse with the hidden soldiers that invaded ancient Troy.
As for the inside colonization: I feel again invaded like the French proletarians by the state.
Lets say they were suppressed back then by weapons ,and violence .
Now we are suppressed by fear (if you don't pay your taxes and insane sometimes charges , your property will be seized),and that is not the worse.
Τhe leftist government are  going for our moral jugular,'and I voted for them
'oh how bad you are if you don't take care of your debts',
only the money we are paying is our living force while the debt is a vague notion being hailing over our heads, on which we have no control, its an endless pit.
When the left change happened, they went for our moral tissue ,we felt we had to pay to look good but in the same time if you payed, your neighbors would gossip where you found the money to do so, so ethic corruption between people starts this way, another bottomless pit ,I would say.
All this is so embarrassing but true.
Eric Alliez said the first day  that the contemporary art may have to seize to exist,
or better, he seemed  quite certain that  this  is what the future holds for art.
So what I would say to him  is:
It is a perfect opportunity for you to elaborate on that phrase, since if I am not mistaken I see quite a few artists here. Before you do I will ask  a bit annoyed, is this a trend? I was hearing a discussion panel being held at the Berlin biennial this year which  had the same topic,
how individual contemporary art is coming to an end and the upcoming issue is the role of the artist in the community.
So I am asking more in order to help the problematic,
what artist and what community  are we talking about. .

Monday, October 31, 2016

fan takes over staģe at green day concert with Billie Joe Armstrong

three interactive projects

The passage, 1996
1.setting it up

3.details and information on pages 14,15,16 in the pdf document titled: details and photos of main events on cv
4.some architectural drawings and sketches as well as designs showing hor the sculpture would fit in a real constructed space.
if you cant see the scans of the drawings in this message, Iwill have to send them to you separately. and performances held while exhibiting the piece and more

6.people painting inside and outside of it with washable paints at a later event

The semitransparency of the passage stands for the veil of consciousness, to see and to be seen, but yet somehow obscure, learning how to communicate.

sound plarform,2006
In the following pdf you may see characteristics of the ‘sound platform’.
Pages :18,19,20.

You may also get an idea of how the sound platform operates watching this video,

the visitor has to shake the rolling floor with his feet so that the metal elements start vibrating meeting together producing a metallic symphony.(which varies everytime).

a moment in space,2015

The photos are from a first presentation and experimentation on the interactive character of the event. This took place for two days in an empty office, at panepistimiou str at the number 59, ,on the fifth floor of megaro fix At the one link ( one sees all the action involved with the installation, and at the second link ( is the summary of a performance based on the same idea with the installation 

the spectator sits on a tiny chair like a ckild , watching the shinny plegma of ribbons above , then listens to the sound  collage made out of echoes of the same world(cries, laughter, screams and sighs).(another aspect)).
(sound collage not included in the videos).

Wednesday, October 26, 2016

debate over paperwear

I will try to support the idea of paper wear. 1. Someone would be given the opportunity to find oneself naked in the middle of anywhere if something went wrong with his or her paper cloths. That presents a challenge. from my point of view 2. we would enter a new era in clothing. Enough of the stretchy and comfortable outfits and welcome the posture attitude. One would have to be extra cautious if you wanted to return home in one piece. ( clothwise). 3. lovers would enjoy the expression of their passion by tearing off each other's cloths, since that wouldn't be such a big deal. (I ll b uy you another magazine darling to make your tomorrow's dress ). 4. housewives wouldn't have messy cloths thrown on the floor, just paper, which sounds more innocent and accepting as positioned there. Some papers on the floor, eh, who cares!.. 5. ok, and now my strongest argument: if you ever find yourself in an emergency situation and there is no toilet paper around,.... you know what to do! A piece of cloth less won't hurt, besides will make you a lot sexier,!? --.. no? ok, Ok, I''ve gone too far. 6. with the cost of a magazine and a newspaper (less than ten euros), you would get fully dressed and also refreshed! So, I am conveinced!! I will try it.... ""? -£₩%}÷₩÷¤÷♡£×☆€ sorry, I m just gaming.

Friday, October 14, 2016

patience training

These series of paintings were inspired by the struggle I had to go through in and out of public service offices(where I was sent by mistake or not, since even the employees themselves didn't know exactly where I needed to go for the paperwork acquired), in order to shut down a company in my name, along with a serious amount of money I had to pay to the tax office in the end.

 1. courts
(mixed media on canvas, 125X90cm).

2. appeal court
(mixed media on canvas, 205X60cm).

3. city(county) court
(mixed media on canvas, 120X165cm)

4. service of legal representatives
(mixed media on canvas,165X90cm).

5. social service
(mized media on canvas, 60X165cm).

6. tax office.
(collage and paint, 185X90cm).


now going wearable..;!!

this worķ is based on creating the material for the .'fabric' used to make cloths. this material is a papercollage(with the possibility to transfer it into printed fabric),made of wish lists(items, places, excursions, dreams come true, desires waiting to be fullfilled), coĺected from magazines and newspapers., disposable printed ads and combined with the money flow involved in the process, presented as copies of money notes in various sizes. The frenzy is accompanied by extravagant fashion designs as appropriate. (see formal dress and hat).
. Further in this "material' one fiinds as well political issues and human rights themes (which are also met in fashion magazines) intertwined again with copies of money notes. (see lovely stole for chilly

). more photos...




details of the material involved




Friday, September 30, 2016

Documenta 14-σχολιο, comment

Μετά από το άρθρο που διάβασα στην Καθημερινή του κ. Π. Μανδραβελη, ο οποίος φοβάμαι πως όντως έγραψε την κριτική του μη έχοντας παρευρεθεί εκεί ουσιαστικά, παρα μονο χρησιμοποιώντας τις γνώσεις του και τις διακηρύξεις που διαβασε, ίσως και κάτι βιαστικές πρώτες εντυπώσεις κι έτσι ξεμπερδεψε με το άρθρο του και πήγε για μπάνιο. Είναι αλήθεια ότι κι εμένα μου μπήκαν πολλά ερωτηματικά ωστόσο παρόλο που ούτε τρανς ειμαι (απ'όσο ξέρω τον εαυτό μου), ούτε ανήκω σε περιθωριακή ομαδα, άγγιξαν με τις διαδικασίες τους την βαθυτερη αλήθεια μέσα μου κι έτσι τους εμπιστεύτηκα και τους παρακολούθησα με σπάνια για μένα (με τις υποχρεώσεις μου) συνέπεια. !Ακόμα δε ξέρω ακριβώς τι με έκανε να το κάνω αυτό, κατι σαν ότι ήταν συμπαθητικός ο τροπος; οτι είχαν μια αυθεντικότητα; Επειδη μου φανηκε οτι πραγματικα κατι ψαχνουν; Εκεί που άλλες εκδηλώσεις και φτιαχτες μου φαίνονται και ξένες.... παραξενο , πολύ παράξενο. Βρέθηκα να παρακολουθώ ανελλιπώς παρότι δε ταυτιζομουν κι ακριβώς!!! σίγουρα πάντως δε θα ξεμπέρδευα στα γρήγορα μαζί τους.... πήρα επίσης θάρρος και ανέσυρα ενα βίντεο μου(θα το βρειτε παρακατω), που το ειχα καταχωνιασμενο, συμβαίνουν και μερικά καλά, που και που, σαυτον τον τόπο.
Ρίξτε μια ματια.
After reading an article in the newspaper Kathimerini from Mr. P. Μandravelis, who,  I am afraid, formed his critic about the event based only on his general knowledge  and the announcement of the event, maybe some quick visits at the beginning, not very profound attending really. So he probably got over and done with his article and went.. for a swim.
It's true that the whole lot brought some questions to me too.  Yet, and even since I am no trans (at least as far as I know myself up to now), either I belong to marginal groups, it seems  that their procedures reached a deeper  inner truth in me.
So I trusted them and watched the event carefully with a rare for me (because of obligations), continuity.
I still can't say exactly why I did so, was it that they had a sympathetic way, was it some authenticity, or that they were really looking for something? Where other events seemed rather pretentious and alienating. Very, very strange.  I found myself attending and trying not to miss a day,  although I did not identify exactly with what was going on. Certainly though I wasn't going to surpass this so easily...
I even found the courage to bring up front a video of mine, which I kept hidden (thinking it as inappropriate). You may find it a bit further  down.
Sometimes good things come out of unexpected events, even in this country!!!
Have a look.

Wednesday, September 28, 2016

28/9-tea on the balcony -resolution

28/9-fifth day and last day of project 'tea on the balcony'. Since I discovered the tea in the street I 've been wondering what was unique about the tea on the balcony that couldn't be replaced with a cup of tea elsewhere. I thought it is the view that counts, and in particular the view of the sea. So I had to think about that. To begin with I need to recover from the shock once we started hearing that in the sea and especially in the stretch of sea between Lesvos island and Turkey which I know so well, (since it happens to be my land of origin), people were dying and still are drowning on their effort to enter my country Greece endangering their lives in little boats which they have to sink once they reach the Greek territory so they can be 'rescued' as refugees. I need to reclaim the sea as a lovely thing. I need time and time again watching the sea over and over until I calm down and feel better. I understand that refugees are very troubled but I am a human being too..., through which you will go to my youtubelink to see the closing video, make sure you watch all the playlist labeled ' tea on the balcony',
 thank you for following this project.

tea on the balcony -25/9- fourth day

25/9- fourth day:
 so if tea can be offered anywhere, even in the street maybe I need to think things over or... watch the video of the fourth day on my YouTube link which you find through

Saturday, September 24, 2016

connecting recent experience with existing video{DOCUMENTA14 inspired}

After being and experiencing the documenta14,  this video of mine came to mind,  check it out....

Friday, September 23, 2016

the 'incredible ' performance of mine still running...

The announcement
Tea on the balcony
I am inviting you to create a unique performance while drinking tea on the balcony at porto rafti. Shots from your action will be streamed live on various media or wherever you wish. The reversing of the role of the spectator is based on the following concept: (already shared among many people luckily, who are also possibly more 'political correct ', since I can be quite controversial at times, also by people much younger than me ) The spectators are no longer viewed as mere consumers and, if so, critics of aesthetic products but are invited to be creators and performers themselves. After this proposal to the 'others', (not spectators anymore), what will be next? is it that they will rise and demonstrate against all these attempts of innovation screaming: 'we don't need no cultivation, boom, bouroum, boom, bouroum.... ' For the time being: every Wednesday and Sunday at three, early afternoon.. all through September and we will see then. directions :on facebook: Athina Chatzigiannaki, also at website:. /my news, or on the phone: 6938373881 (16. 00-18. 00). ticket price: a little bit of something edible for the next tea afternoon duration of performance:75'.


Πώς να φθάσετε εκεί που γίνεται η περφορμανς: μετρό προς αεροδρόμιο (αυτο που περνάει από σύνταγμα στις 12. 25) στάση Κορωπί Εκεί σας περιμενει το λεωφορείο( κτελ) για πορτο ραφτη (τιμή εισιτηρίου 2ευρω) κατεβαίνετε στο τέρμα της διαδρομής -τελευταία στάση αυλάκι θα σας περιμένει κάποιος εκεί (αν έχετε προηγουμένως κάνει κράτηση τηλεφωνικά στο 6938373881), στις 2. 30 (όπως και αν έρθετε με αυτοκινητο). How to reach the space of the performance metro to the airport (the one that passes from syntagma at 12. 25). get off at koropi station there at 13. 30 (almost immediately )stops the bus to Porto Rafti. Get off at the end of destination-last stop avĺaki there someone will pick you up at 2. 30. if you have made a reservation at 6938373881 (also if you come by car).

Η φοβερή περφορμανς στο πορτο ραφτη ακόμα υπάρχει....

Η ανακοινωση
Σας προσκαλώ να δημιουργήσετε μια μοναδική παράσταση πίνοντας τσαι στο μπαλκόνι του πορτο ράφτη, ενώ στιγμιότυπα από την δράση σας αυτή θα ανεβαίνουν αυτο- στιγμής απο εμενα και τους συνεργατες μου στα διάφορα μέσα κοινωνικής δικτύωσης ή όπου αλλού θέλετε. Αυτή η αναστροφή του ρόλου του θεατή βασίζεται στο εξης κονσεπτ (το οποιο, το ευχαριστο ειναι, οτι συμμεριζονται πολλοι πολυ πιο νεοι και συνήθως πιο 'πολιτικά κορεκτ' από εμένα που και απρόβλεπτη γίνομαι κατα διαστηματα και αντιφατικη... ). Το εν λόγω κονσεπτ θελει τον κάθε άνθρωπο όχι πια παθητικό καταναλωτή η εστω και κριτη αισθητικών προϊόντων, αλλά συμμετέχοντα δημιουργό και περφορμερ. Το επόμενο βεβαια που αναμένεται από αυτούς τους ανθρώπους είναι να διαδηλωσουν εξοργισμένοι ξεφωνιζοντας: 'we don't need no cultivation boum, boum, bouroum, boum boum bouroum'... etc. Προς το παρον, κάθε Τετάρτη και Κυριακή στις τρεις το απομεσήμερο. Από την ερχόμενη Τεταρτη μέχρι τέλος Σεπτέμβρη και βλέπουμε... Για κρατήσεις αλλα και για συγκεκριμένες οδηγίες πρόσβασης στο facebook :Athina Chatzigiannaki στο website: /my news αλλα και στο τηλέφωνο 6938373881. (16. 00-18. 00).

Thursday, September 22, 2016

21/9-third day-maķes you wonder

so there came the third day of this endeavour I think at this point it is needless to add any words. just see the recent two videos on my YouTube channel. Since I am not able to provide you with the link right now, just use my website to take you there Once on my channel, you may check all the playlist 'tea on the balcony 'with what has happened up to the 21/9.

           \comment on the photos below(which also give you a hint what is in the videos eventually)

the first two photos refer to some volunteers I happened to meet later on the third performance day  while being in the center of Athens on my way to the Biennale in order to watch a projection hoping to understand how a fine artist and performer like myself could get involved in social activity.
The third photo is me on the balcony  earlier the same day,trying to realize what is this tea on the balcony that I am proposing.What is the difference between my art proposal for performing on the balcony and the work of the volunteers?
should fine artists and performers and theater directors and.. you name it  simply become  volunteers or are volunteers merely artists, and all?

οποτε  ήρθε  και η τρίτη μέρα της περφορμανς. Νομίζω ότι περιττεύουν  τα λογιια Δείτε τα δύο βίντεο. 

οι δύο πρώτες φωτογραφίες  εινα ι από το πρωτο βίντεο,   κάποιοι  εθελοντες που  έτυχε  να συναντήσω  πηγαινοντας στην μπιεναλε της Αθήνας, απέναντι από  την Βαρβάκειο αγορά συγκεκριμένα , για να δω μια προβολή σχετικά με συνεργατικά πρότζεκτ σε γειτονιές για να καταλάβω τι ρόλο μπορούν ενδεχομένως  ναι  παίξουν  εικαστικοί στο συλλογικό πεδίο
Στο δευτερο βίντεο (απο οπου και η τριτη φωτογραφια),  ειμαι πάντα εγώ στο μπαλκόνι προσπαθώντας  να καταλάβω τι είναι αυτό το 'τσάι στο μπαλκόνι' που προτείνω. 
Ποια είναι η διαφορά της εικαστικής μου πρόσκλησης και του έργου των εθελοντών; 
Μήπως οι εικαστικοί πρέπει να γίνουν εθελοντές  ή  οι εθελοντές να θεωρηθουν εικαστικοι; 
μπορείτε να δείτε τα δύο βίντεο στο κανάλι μου στο YouTube  στο οποίο θα μεταφερθείτε από το website:www.
Δείτε όλο το playlist : tea on the balcony

Sunday, September 18, 2016

18/9/'16- second performance day -tea on the balcony

hello, and guess what?
After experiencing the second day of the performance 'tea on the balcony', there are more thoughts coming to me, especially since no people have showed up yet to turn this" pondering upon', into an enjoyable party time which usually happens when people gather on occasions like this. (which might be ok too, but... ).
The point is : where does an invitation like this stand politically?
It is easy to condemn quickly a move of this kind as apolitical. But if we think as people living in Greece, even Athens, and not in the middle of Germany or England on a rainy day, it is most likely that one will find oneself easily in front of the lovely sea with a cup of tea or coffee in hand on a sunny day.
He or she may be experiencing severe financial problems, but most likely will be facing them in the above described manner. So, that's where we start, in my opinion. (even people that cannot afford two euros to go and two to return from the place where the balcony is situated can always engage with a friend with a car or motorbike  to include them in the ride on a Sunday afternoon, providing they are willing to combat their negativity overall).
more as it comes....

Thursday, September 15, 2016

tea on the balcony- 14/9/'16, first day performance

OK, this is a first impression I got from materializing my idea.
Since there were no visitors,  I used the time to think about this initiative of mine.
From my understanding, in a performance there is always involved an element of entertainment, so that's why photos, videos and media will be encouraged.
Now, further than that though, the purpose of making the spectators leave their comfortable seats and try crossing the line to the other side of the performer-spectator equation is  perhaps that of seeking to understand and realize something  which otherwise remains hidden.
More on this as it goes

*live streaming  procedures were faced with small unexpected difficulties, which will be overcome.

Monday, September 12, 2016

a chance to share -interview with online magazine

hello everybody,  finally my interview with Not Random Art magazine online is completed and you may see my part in pabes 56-63, as the ninth artist presented  (please be patient  but also check  out the others while you scroll to get to me),
Actually the interview was interesting  and of course  it is always  refreshing to see images of one's work.
So let me know what you are thinking about what you saw or other
pages 56-63

Tea on the balcony- performance

allright sorry for the delay,
so the directions  of how to get at the place where the performance  tittled 'tea on the balcony', will take place   go as such:
take the metro toward the airport,  (the one that passes from syntagma at 12. 25), get off at station koropi,
there,  the bus to Porto Rafti will be waiting  for you,  it will take you all the way to the end, you will get off at the end of destination ,  last stop avlaki.
Someone will meet you there,  at 2. 20.

Saturday, September 3, 2016

seriously? after what we Greeķs are going through with the refugee wave?

what else will I see?

things like that happen too

ok, hi there,
I dare say I opened an etsy shop, well the photos are not sooo good yet and I will soon show some new cool items too but you may check it out from now at

Friday, July 29, 2016

the mistake

hello from sunny hot Greece
I had to turn a video of mine showing on you tube channel  private, since I thought that it was probably a mistake to put it up public,  since it's content  was vaguely  inappropriate  or completely inappropriate? (depending on the viewer ), for people to watch
After what has been  said, if someone still wants to watch it,  may email me and I will send them the link.
thank you for your understanding
Have lovely day

Thursday, July 28, 2016

The questionnaire


It has to be defined  from the start that any ressemblance to the well known artist Ai Wei Wei is totally coincidental.
The persona  created for this interview,  is Mr.  Wej Wej and is a totally fictional character.
This interview is a number of questions unanswered which will make the reader or viewer wonder and  maybe also think what he likes, so its really a kind of game . while wondering about serious otherwise issues that are happening around and in our lives at the moment.
So, let us begin
.. Mr.   Wej Wej

1. How come you are so interested  in the refugees  in Greece  How about the floods in your own country? Aren't they inspiring  to you? And do you believe that dramatic events should be used by artists and how?

2. To your understanding, since you are Chinese,  what drove those countries  toward western  Europe and not toward China? Since the maps show a distance..if not .. similar yet not totally irrelevant ?

Is western capitalism safer that eastern  chinese communism?

3.  You said you don't care about aesthetics,  but the lotus flowers on the water at an old European  palace  have a fling toward beauty,  it looks like aesthetics have won you after all,  as for the construction it looks like the life jackets are well handled  so you beautify a horrible event and make sure you make solid a fragile  dramatic  experience that these people the refugees had?   You seem to have forgotten in  the process the element of pain,  its like you left it behind!, or used the shells of life jackets leaving the 'snails refugees to their fate.

The wrapped up ancient looking columns  again in Europe are better,  they are awful looking enough,  hopefully it was your intention  yet that is doubtful.
My personal struggle around the aesthetics of art on my website....
Commenting on 5a and  5b.

4. And now, if you allow me,  I feel the need to ask you something  more personal.
I read that you said in a real enough for me interview that it shouldn't matter to an artist whether he is successful or not, whether he makes money or not,  that this fact has nothing to do with the art itself,  and I feel relief and joy from that cause personally I never made a dime.
So what I understand,  the issue of money and success is only  about systems,
So the question is,  what happened and you found yourself in a stream of a system?
And how did you allow yourself to do it,  since you also carry a certain ideology, unless it is a system matching your activist's ideology but still bringing you money and fame.
Seems like you have found the perfect  combination!

5. Mr.  Wej Wej,  I hear you keep saying that except of only  an artist, you are also an activist.
can you define the term,  what in your knowledge  and experience is actually an activist?
is it someone  who initiates actions in order to help people in suffering conditions,  usually through the misdeed of others?
or do you believe that the word activist holds a different or further meaning than the one described in the Merriam Webster dictionary?
So. I will give briefly the definition of activism given by the  Webster and then you may tell us what you need  to add.
... ' a doctrine or practice that emphasizes direct vigorous action especially in support of or opposition to one side of a controversial issue'..
needless  to say that you are applying your activism on the side of the claims of the refugees to be allowed  to make their  way to Europe, right?

6. And this brings me to the next question I would like to pose to you:
which of your actions so far,  (to your understanding),  show an activism from your part?

7. I have tackled the issue of activism  in  a way that also the viewers may  give it some thought and even (why not),  explore the subject and see  where they stand for themselves.

 For instance,  me,  I am an artist as I have declared  through  'commenting  on' or my website,  but what I have never said was how much of an activist I am
I feel I am an activist, but up to now I haven't done something to show to the world as my work of activism,  other than once giving a work of mine to people,  allowing them to express themselves  by  painting on its surfaces, then I was devastated cause the paint wasn't exactly washable by water as I was reassured. Also I give  ten euros a month to Greenpeace without always following what they are doing,  but yet  I am always interested.
  I am going now to my island of origin, Lesvos where the refugees  that survive the sea journey from Turnkey  show up and I thought it would be good to get encouraged by another activist -artist,  inspired and even guided in a sense, and then once I am there,  maybe I will figure out what  to do or maybe I will do nothing. I hope your answers to my questions will help me.

Please let me now ask you a subquestion:
Is it  considered activiism the  giving away of  clothes to people in  need through a church for instance,  and if yes what is the difference between your activism and that simple gesture?

So I think now it is time to move on and throw some light on the you as an artist.

7a .. here I have two questions for you the one is again concerning your activism but in relation to your art,  does your activism go first,  takes you where you see  suffering  and  injustice,  and then  you happen to also make  some art on the side, ,  since you cant  stop youtself,  (you  are an artist after all), or is it the other way around,?
you just go where your intuition tells you to and if some activism is required you might find you self throwing in some paintstrokes of that too, ?
there could also be that your activism and art go hand in hand whatever the consequences of that would be

7b .and the second question is,  does the criticism you received in Europe about what you did with  your art inspired by and using what you found in the front line where you went,  concerning the problem of refugees,  does that criticism made you regret where your art led you,  and  making it more general,
does  critisism of any kind affect your art?
and if not,  how do you manage to overcome an issue like that? please I need  you to answer that for the sake also of our viewers  artists having similar problems.

I won't go into  me criticizing the art you produced cause that is not what I do,  except I may say it reminded me of Christo 's recent work in Italy,  'walking piers',  only in a smaller scale and less useful. On the Christo project people walked on the floating corridor and an island was connected to the shore,  while yours was just beautiful to watch and I have some doubts about the quality of beauty involved here.

maybe that's exactly your message,  that beauty looked from afar (lotus flowers shapes on water,  but if you go closer there is suffering misery life risking (element of life jàckets).

So,  to complete this interview  I will show two  pictures of you,
one when  I first mett you long ago

And the other is more recent

and also I would like to ask you to stand here so we .can have a picture together

only one more thing
what's going to be your next project?

wrapping the emperor s palace in Japan with radioactive materials from the accident in the nuclear energy producing factory years ago,  or  some project in space? or an activist action on the cinic  wall?

thank you for your time and I hope our readers or viewers will have enough material to stir up their thoughts.

The interview will be live shortly as "commenting on 6" on my website


I won't tell you what this is , just check it out , I think you will enjoy it...