Jrp Ringier in Zurich published the short text The two rooms, that was proposed as a literary interpretation of the Kafka's story "Investigations of a dog", written in 1922 and published in 1931 after the author's death. In Kafka's story "the unnamed narrator, a dog, recounts a number of episodes from its past, in which it used quasi-scientific and rational methods to resolve basic questions of its existence that most of its peers were content to leave unanswered, such as: "Whence does the Earth procure its food?".
Many of the seemingly absurd descriptions employed by the narrator express its misapprehension or confusion about the world, centering on dogkind's apparent inability to realize (or, some passages suggest, unwillingness to acknowledge) the existence of their human masters". The rational dog's thoughts and the impossibility to refuse their rational basis (even if the text shows the impasses they are driving to) relate this investigations to any vain, human effort to conclude about reality through thinking.
The "two rooms booklet" consists of a response to the Kafka's novel that insists at an oposite attitude of beings to keep doing things without investigation. Another most trivial aspect of animality is linked to the condition of tribe and its absurdities. The text is published in Greek.
The same editor published the Atlas of Transformation. The thick book is a publication prepared by Tranzit Display, Prague for the project Monument to Transformation. It is a collection of entries that capture transformation in the recent european history. The book is proposed as a dictionary containing also art reproductions and sketches.
The publication counts already two important design prizes: the one of Most Beautiful Swiss Books, Zurich 2011 and the Best Book Design from all over the World, Leipzig 2011. Its graphic design is signed by Adéla Svobodová. The volume contains entries by Adam Mazur, Adéla Gjuričová, Agela Detanico, Rafael Lain, Alexander Gerner, Alexander Kiossev, Alexei Penzin, Ana Janevski, Ana Paula Cohen, Anatolij Osmolovskij, Andrej Lankov, Aristide Antonas, Artem Magun, Ayreen Anastas, René Gabri, Babi Badalov, Beatriz Herraez ,Boris Buden, Boris Groys, Boris Ondreička, Cabello/Carceller, Cristián Gómez Moya, David Chioni Moore, David Kulhánek, Egon Bondy, Eileen Legaspi-Ramirez, Erick Beltrán, Ernest Gellner, Fang Hu, Fedor Blaščák, François Piron, Françoise Mayer, Franz Kafka, Frederic Jameson, Frederic Jameson, Georges Perec, Gilles Deleuze, Pierre-Félix Guattari, Haegue Yang, Hakim Bey, Homi K. Bhabha , Hrach Bayadyan, Chantal Mouffe, Igor Zabel, Ilja Kabakov, Jacques Rupnik, Jaime Iregui, Jens Kastner, Jeong Hwan Joe,Ji Yoon Moon, Jiří Havel, Jiří Přibáň, Jiří Suk, Joanna Erbel, Joaõ Maria Gusmaõ, Pedro Paiva, Joaquín Barriendos Rodríguez, Julia Moritz, Juliane Debeusscher, Karel Kosík, Karl Holmqvist, Karl Lydén, Kārlis Račevskis, Keiko Sei, Keti Chukhrov, Kostis Stafilakis, Lásló Csaba,Leszek Balcerowicz, Lia Perjovschi, Livia Pancu, Raluca Voinea, Magdalena Ziółkowska, Marcel Tomášek, Marco Scotini, Mariano García, Marina Gržinić, Martin Škabraha, Mikołaj Lewicki, Milan Otáhal, Milan Šimečka, Milan Zelený, Miroslav Petříček, Mladen Stilinović, Nataša Petrešin-Bachelez, Nerea Calvillo, Ninotchka Rosca, Pavel Barša, Primož Krašovec, Radim Marada, Raluca Voinea, Raqs Media Collective, Rastko Močnik, Ricardo Basbaum, Sergio Rubira, Slavoj Žižek, Srdjan Jovanović Weiss, Svetlana Boym, Teresa Riccardi,Timothy Garton Ash, Tomáš Pospiszyl, Tomislav Z. Longinović, Václav Bělohradský, Vangelis Vlahos,Vassilis Vamvakas, Viktor Misiano, Vlad Morariu. Yannis Stavrakakis, Yelena Vorobyeva,Viktor Vorobyev, Zbyněk Baladrán, Zdeněk Košek, Zdislav Šulc. The chief editors are Zbyněk Baladrán and Vít Havránek. The project direction was done by Věra Krejčová.
The Urban Hall
The Urban Hall is a double project. It includes the architecture for a square of Athens in Plateia Theatrou and also the architecture of an immaterial platform that includes or determines a series of predefined actions that alternate in this same urban spot. Architecture in this project may thus be, from the first point of view, the institution of an empty place. From the second point of view the most important architectonic move would shape the frame that would allow the performance of some urban acts. A system of changing functions would characterize this space and the most interesting political question will then be: how this idiosyncratic urban curating could be realized. The design only makes easier a possible stay in the area through the grid surface of the roof and a fan field that covers the lightly shadowed square. This particular urban instrument, proposing predefined situations, is the name of a question: the question about the common in this particular "always before bankruptcy" post network era.
A first possible situation that is related to the condition of the area today and particularly the condition of the drug addicts would have to do with some alternative projects of hospitality, with alternative centers for drug addicts. This proposal could include different perspectives over the use of drugs or even expand a health care strategy creating for example an open city hospital. Such a decision would have to oscillate between a realistic interpretation of a problem and an understanding of art today: in this particular example one could think about a call to artists to act in the frame of this problem. A curatorial strategy would possibly include the installation of related artistic works from artists who would possibly reinterpret some of their work in a city level such as George Hadjimichalis or elaborate tactics that would perform other type of art works through different art practices, asking from artists to pose small scale social agendas and treat the city conditions as the necessary frame for possible art pieces. A system of small urban interventions can be introduced in the city as a concession of public space for such subtile work. The question about the curator of such a mechanism is the most important one in this proposal. Nevertheless the staging of the platform is elaborated here as a call to recognize a part of the city as an instrument that could perform different functions. The definition of an empty space would not give to the city an extension of its normal urban fields but would create a condition of an Urban interior in order to provoke predetermined, theatrically conceived events. Neighboring areas that can soon be included in this zone of prepared actions, using performativity in order to work towards the clarification of a political agenda in a practical manner.
In her post about the project Ethel Baraona Pohl insists on the idea of creative activism that can be the core of the Urban Hall's management. She refers to the book Did Someone say Participate? co-edited by Markus Miessen and Shumon Basar. "Markus Miessen pointed in the book [ ... ] that in a time when city centers become increasingly polarised and drawn towards seclusion, the communication between people and states in particular needs to be revitalized, since one of the positive side-effects of globalisation is the realisation that today’s most pressing problems seem to exist regardless of place and location. This point is closely related with one of the conditions that can validate this project today as a particular function of a different era". It is important to be conscious about the common character of the global problems. On another level Athens poses its own platform of proposing its problems. And it may be interesting to make a representation of Athens as a violent meeting place of two different mechanisms: the first one could be the anarchic, vivid, unrepresented, always changing system of immigrants that inhabit a part of the empty city center; the second mechanism would be the legal frame that define an individual in the EU, unable to manage this massive wave of immigration, at least in the center of modern Athens. Athens is this idiosyncratic function of a city where an unpredictable meeting of an unrepresented population of immigrants and the frame of the European citizenship is performed. The Urban Hall is not a building but an Urban Instrument that could organize new city functions.
Munich and the question of banality
Open discussion with Alexandros Fthenakis in the Architecture School of the Technische Universität in München about the recent work in the TETE A TETE series. The work was this time presented with a rhetorical emphasis to banality and within the dialectics between normality and exception. A short reference to Victor Schklofski and to his "Art as Technique" could maybe form the center of a view to the work. The first point made was that we could begin an architectonic investigation about the civilization of contemporary remains. In a future civilization we would have to handle existing objects rather than create new ones. The inventive character of the future would not be "creation per se" but a work of possible reuses of some existing stuff. This attitude could find its past in objets trouvés strategies and in ready made works but in the contemporary conditions this aesthetic moves turn to a necessary practice, or are marked by ethical characteristics. 
The second point had to do with the post production architectonic tactics and particularly with the composition in an archive condition. In this background putting together different things could form the structures of future constructions not only as a necessary acceptance of decadence but as a work of memory. Inhabiting the remaining objects of the past's overproduction obliges to a series of works that include architectural creation into a particular space construction organized out of space fragments. DJ, VJ, SJ are particular modes for treating the plethora of the existing things. The aesthetics of collage can be seen through this point of view as intellectual exercises of directing particular co-existences.
another:
antonas,
travel remain
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remarks
another:
antonas,
attic landscape,
find
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BUS HOTEL
Hotel BUS : A small bed and breakfast hotel settled in a transformed bus; proposed for long distances commuting and for "tours" in specific areas. Its idiosyncratic character asks for different inhabitations. Reuse of existing 2 levels bus, design without exterior change of the vehicle.
Μιά πρόχειρη σκέψη πού θά ἀνακοινώνεται ἐδώ, σέ ἕνα blog, μέ τόν χαρακτήρα σημείωσης, ἴσως ἀντικαταστήσει, στή συνθήκη συγκρότησης τοῦ προσώπου, μέρος τῶν δοκιμῶν πού προορίζονταν γιά ἕνα βιβλίο. Κάτι σχετικό μέ τόν τρόπο τῆς ἐκτύπωσης, τό ἴχνος, τήν πρόσβαση ἀφορᾶ τήν ἴδια τή σκέψη, τήν ροή της τήν ἀποκρυστάλλωσή της καί τό τέλος της. Χωρίς τήν συνείδηση τῆς ἀνεπάρκειας δέν μποροῦμε νά σκεφθοῦμε πλέον καθόλου. Ἡ σκέψη εἶναι τεκμήριο ἀνεπάρκειας, συνειδητή ἐργασία μπροστά σέ ὁδούς, στό τέλος τῶν ὁποίων βρίσκεται ἀποδεδειγμένα ἀδιέξοδο. Τό ὅριο τῆς σκέψης ἡ ἐσωτερική της βαθιά ἀνοησία, νεύει πρός κάποια ἐπικίνδυνη ματαιότητα καί πρός κάποια ματαίωση ἐπίσης ἀνησυχητική. Ἡ σκέψη κινδυνεύει νά βρεθεῖ μπροστά σέ ἕνα δύσκολο δίλημμα: νά εἶναι εἴτε ἐργαλειακή εἴτε ἀνόητη. Ὡστόσο τό πεδίο τῆς σκέψης εἶναι κατ' ἐξοχήν ἐκεῖ ὅπου ἀναζητᾶται ἕνα ἐργαλειακό μυστικό σέ ὅ,τι παραμένει ἀκόμη ἀνόητο. Τό λαμπρότερο πεδίο τῆς σκέψης μποροῦσε νά εἶναι κάποιος χρόνος παύσης μέσα στήν ἀνοησία, ὅπου τό ἀνόητο αἰφνίδια ἀποδεικνύεται ὀρθό.
Ἡ παρατήρηση αὐτή (πού ἀφορᾶ τόν λόγο ἐν γένει ἀλλά περισσότερο τόν ἰδιαίτερο χαρακτήρα τοῦ λόγου σήμερα) δέν εἶναι ἄσχετη ἀπό τόν τρόπο διατύπωσης καί ἀπό τόν τρόπο παρουσίασης καί ἀποκρυστάλλωσης τῆς σκέψης σέ γλώσσα κάπου. Ἡ ἀποκρυστάλλωση γίνεται κάπου. Ἡ wiki ἐκδοχή τοῦ "σχηματισμένου" λόγου, ἕτοιμη νά καταρρεύσει καί νά ἀνασυστήνεται συλλογικά, προσανατολίζει μέ ἰδιαίτερο τρόπο κάποια ἀνάγνωση τοῦ γραπτοῦ πού ἡ ἴδια προσκομίζει στά μάτια τοῦ ἀναγνώστη. Δέν πρόκειται γιά ἕνα κείμενο πού θεσμίζεται μέ εὐστάθεια μπροστά σέ ἀναγνῶστες πού το διαβάζουν παθητικά. Τό ὅτι ὁ ἀναγνώστης ἔχει τήν δυνατότητα νά προτείνει ἀλλαγές στό κείμενο, ὅτι κάθε ἀλλαγή πού προτείνει ἀφήνει τό ἴχνος της σέ κάποια καταγραφόμενη ἱστορία τοῦ κειμένου μᾶς κάνει νά μποροῦμε νά πουμε ὅτι τό wiki κείμενο εἶναι διαφορετικό ἀπό ἐκεῖνο πού γνωρίζαμε. Ὁ λόγος μέσα σέ αὐτό, καταγεγραμμένος ἔτσι, δέν εἶναι ὁ ἴδιος πού γνωρίζαμε διαβάζοντας ἕνα βιβλίο.
Ἀντίστοιχα σέ ἕνα blog γράφουμε πάνω σέ ἕνα ἡμερολόγιο. Ἡ προχειρότητα εἶναι δεδομένη ἀλλά καί ἡ δυνατότητα ἐπιστροφῆς καί ἐπιδιόρθωσης τῶν "κειμένων" εἶναι καθοριστική. Εἶναι ἀκόμη κείμενα τά κείμενα; Κεῑνται κάπου μέ τήν ἀσφάλεια πού θα προσέφερε ἡ σταθερή ἀναφορά ἑνός ἐντύπου; Γράφω καί δημοσιεύω αὐτές τίς λέξεις. Ἴσως σέ λίγο ἤ ἀργότερα ἤ κάποτε ἀποφασίσω νά τίς σβήσω, νά τίς ἀφήσω νά μείνουν κρυφές στό βάθος τοῦ blog ἤ νά τίς παραλλάξω. Τί μένει σταθερό σέ αὐτό τό νέο δυναμικό τρόπο γραφῆς ἐν σχέσει πρός τόν γραπτό λόγο τοῦ παρελθόντος; Ἡ ἱστορία τῶν κειμένων πού γράφονται: φύλάσσεται στό προσεκτικά διαμορφούμενο ἀρχεῖο τοῦ Διαδικτύου. Προτάσεις τίς ὁποῖες αἰῶνες φιλοσοφικοῦ στοχασμοῦ ἀγωνίστηκαν νά ἀποδείξουν, ὅτι δηλαδή ἡ φαινόμενη σταθερότητα τῶν κειμένων εἶναι φάλκιδη, ὅτι τό ἑκάστοτε νόημα παραλλάσσεται μέ τήν ἀνάγνωση, ἐπανατοποθετοῦνται σέ ἄλλο σκηνικό περιβάλλον. Ποιά εἶναι ἡ κριτική, καυστική δύναμη τῆς ἀποδόμησης, παραδείγματος χάριν, ὅταν το περιβάλλον ἀναφορᾶς εἶναι ἐξ ἀρχῆς, τόσο συχνά, ἤδη ἀποδομημένο; Ὅταν τό περιβάλλον τῆς δράσης δέν εἶναι τό κείμενο σταθεροποιημένο κάπου;
Ὁ λόγος ἔχει περιθώριο γιά μεταβολές, ἡ εἰκόνα του δέν εἶναι ἡ σταθερή εἰκόνα πού ἐκφράζει ἕνα τελικό συμπέρασμα ἤ πού παίζει μέ τήν παραίτηση ἀπό τό συμπέρασμα. Ἡ παραπομπή στά ἴχνη τοῦ ἐνεργοῦ ἀρχείου πού προσφέρει τό διαδίκτυο εἶναι ἀνανεωτική γιά τήν ἐπανατοποθέτηση τῶν ἠθικῶν πού ζητᾶ ὁ λόγος γραμμένος σέ ἐνεργούς εὔπλαστους ἱστούς καί ὄχι πλέον σέ σταθερές ὑλικές ἐπιφάνειες.
Back to the enclosed closed theater of the Handler or the Manipulator, in a dream tonight.
another:
antonas,
project,
sleepwalking
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remarks
The theatrical play "Reading Documents" written for Aikaterini Antonakaki is performed under a new title in Paris. First presentation.
From "Nicosia Water Tanks" Project
A research needs a field (and we are really in the interior of a well defined field, a space, a place or a building) but a research is also haunted by the rationale of some possible find, always oriented towards some discovery of an important promised space. A formula describing this series of works would be "impossible research" but still this will give immediately the idea of a desperate move towards the viewed field. These works are described better as "creations of finds". I don’t believe we have a process driving somewhere. Process introduces in a well structured form of a path that we know where it ends. But I believe that we have here neither a constructed type of research neither a place of destination. The selection or the installation of a collection does not really takes into consideration the chosen pieces but on the space formed by their interval. The void in between the collection pieces is more significant than any piece of the collection itself. What is interesting thus in such collections or archives is not the fragmented captures taken out of a so-called continuous process. On the contrary, the fragmented character is intrinsic for the works. The fragmented character anticipates any research methodology. We are looking for a glorification of it. Furthermore this creation of a specific void in the centre of a field is the only possible target. But still very vague, defined only by its character and not by the mere fact that a void is finally installed there. The creation of finds is a work that transubstantiates unimportant pieces to simulacra of research remains. This series of documents and representation pieces is proved more interesting and complicated than a collection of fragments collected from a real coherent research. It seeks a reading and this question of the origin of the collection installs what could be called “esthetic dimension” of the work. This transubstantiation of the pieces to a collection is a work of art, but also this passage from the fragments to a collection is the way we can think about philosophy or theory today: we remember the Benjamin description of his work as a collection of text’s fragments put in line and elaborated on the articulations that rule their connections. Furthermore there is today a quest for the meaning of piled, heap constructions because of the plethora of production in all domains. It is for this reason that the transubstantiation does not allow in these works the idealization of any collected piece. The finds are created as finds not to be honored as important documents detached from an unimportant mass but in order to shape a space that could also be created through the use of different material. There is a void that is shaped the in between space of the created finds that is important, not the material per se.
