Inside the overgrown field of Areos, works of art They are discreetly spread out between shrubs, monuments, trees and flower beds, embracing the urban natural landscape and inviting us to discover them through a peculiar treasure hunt. ‘Plásmata 3’, the large report of the roof of the Onassis Foundation, is presented in Athens Central Park From today May 27 to June 15Y.

As if they were always inhabitants of the Park, the works of the exhibition are not placed on the central diodes, but in the “viscera” of the space, so they invite us to tour, detect and dream of them.

“This time we said to evolve our relationship with plásmata. We returned with quiet, discreet, charming, comforting, natural, analog, digital creatures. Playing creatures with the question of what is real and what fantastic, what could happen to the truth and what a dream, “said Onassis Foundation Artistic Director, Aphrodite Panagiotakou, during the tour of journalists in the field. “It is not an exhibition, it was never,” Ms Panagiotakou explained, describing the event “a small celebration of art, the right to laziness and inaction, the relief power of coexistence”.

Visitors to the park are welcomed by a phrase by David Leeds “We’ve Met Before, Haven’t We?” From there the exhibition starts and, as the Digital Development and Innovation Director of the Onassis and General Manager of the “Plásmata 3” event, Prodromos Tsiavos, “we have a marking for the projects, but not a route, you can go where you feel and as you feel, lose in the park.” He described the “Plásmata 3” a “living workshop of ideas, tests and creation for the public space and how we connect with it”.

In the context of accessibility of the exhibition events, tours of interpretation in Greek sign language are organized, as well as acoustic description tours for people with visual disabilities.

The exhibition operates daily 6-11 pm with free admission to the public.

The white staircase that is not riding anywhere

Very close to the light inscription with the phrase of Leeds, a large white staircase has been erected that does not lead anywhere. There, the “Yoann Bourgeois Art Company” by the leading French choreographer Joan Bourzua presents “Approach 17. Opening” (“Approach 17. Opening”). He weaves an illusion and raises a man on the staircase – a tireless figure who defies the laws of gravity and seems to be struggling to reach somewhere. The performance is presented on May 27 and 28, 6, 7, 8, 13, 13, 14 and 15 June, while the rest of the days and hours the white staircase remains at the scene and mysteries, inviting passers -by to reflect on their own path to impossible.

Shortly after the installation is one of the three parts of Andreas Angelidakis’s “Anarchist Representation”. The artist presents his columns, his “pouffens”, on which you can rest and thus be created in the Pedion Areos, as he himself explained, something like an 18th -century engravation, where travelers were depicted on the ancient times. In a second part of the site, in a glade that you have never noticed before, almost opposite the Austrian Archaeological School, its houses again dominate with pre-gardered inscriptions of the program … out.

On a small hill, The Callas (Lakis and Aris Ionas) with “Punkthenon” invite us to enjoy the eternal Greek summer ironically, lying in a seaslong gazing at their surrealist Parthenon made of marbles on the center of Athens. They present in their exhibition and their work “Beware of the Dogs”, where they trample on the inability to communicate between humans and animals, but also between people themselves.

Katerina Komianou explores in black and white, with no sound, films the urban topography of Athens at dusk, inspired by the poetry of Katerina Gogou and focusing on places and forms shortly before they are lost or forgotten.

A rural truck with a characteristic carriage, coated with gold leaf, is parked between olives, in front of the British, Australian and New Zealand monument of World War II. This is the work of Dionysios “Meditation on Time”, which creates a peculiar monument of modern life, composes contradictions and plays with stereotypes and prejudices.

Next to the same monument and under the “look” of the statue of Promachia Athena pops up on the screen of Robert Wilson’s work “Kool, Snowy Owl (Horizontal Blue)”, a owl that does not know the limit between the night and the day and invites us to observe our life.

Nearby, Kalos & Klio in “The Keeper of the Garden” (“The Garden Garden”) present a digital shaman totem, which bridges the natural with the digital, the past with the present, the visible with the invisible, bears symbols of unity and abundance and we invite us to communities. As the creators of the project pointed out, “the guardian of the garden is here to remind us that democracy is not only an institution, it is an act, a space and if we do not care, it will not bloom.”

Having as a source of inspiration for the bulletproof ritual, Efi Gousi in the “Tecttonic Riders” videotape comment on climate change and female power. Her film was filmed on the lake of Mornos, from which, due to climate change and the decrease in water level, it pops up a sunken village.

John Fitzgerald and Godfrey Reggio make a stop in Athens, shortly after participating in the Immersive Competition at the Cannes Festival, with “The Vivid Unknown: Cloudqatsi” It is lost, the dominant technology and the collapsing man.

Maria Mavropoulou with the film “The Sleight of the Machine”, which has been fully produced with artificial intelligence, introduces us to the world of a juggler, whom we watch not only as spectators, but as accomplices in the deception we enjoy.

Andreas Wanerstend with “Focus!” It starts from a colored bust of the Stoic philosopher Chrysippus to humorously comment on our obsession to separate the true from the fake, but also the futile resistance to our desires.

At one point in the park, where two cypresses are located, as a reminder of a beloved couple who passed away, the installation of Naimi Iglesia Barios “The Falling City” has been installed. It is a monument of love, full of glass sculptures illuminated depending on whether guests are grasped hand, hug or kissed.

As the best way to understand the “other” is to get in his place, Ziabao Lee, Matt MacCorkle and Botao Amber Hu with “Echovision” (“echo-vision”) invite us through an extensive reality application to become bats who shout, sing or sing.

Martina Marsiniak with the “Anatomy of Non-Fact. Chapter 1: Ai Hyperrealism “(” Anatomy of the Non -event. Chapter 1: Photorealism of Artificial Intelligence “) recommends to the public a fake pope, decoding the construction of images with artificial intelligence and, through it, our constant swing between the real and the constructed.

Pierre-Castof Gam with “The Sanctuary of Dreams” sets a temple of light and silence to reflect on five fundamental questions: How will we eat, play, dream, pray and love in an ideal future? Somewhere between imagination and reality, visitors write a vision, a desire on a paper.

In the area of ​​Aries

Two projects have been placed in the round area of ​​Aries, a place of calm and concentration. “Love me. Lick me. Forgive me ”says Janice Rafa in her work, wanting to unfold the relationships of power and care, love and deception, through the eyes of a horse. Manousos Manousakis with “Neighbors” (“Neighbors”) makes us love creatures born ink on paper and now “live” between the real and the imaginary, in three places in the park.

In his work “Shadow Procession”, created in 1999, William Centridge creates a procession of shadows and figures marching as a different shadow theater. The project draws inspiration from the uprisings of South Africa and has been placed at a point in the field of Areos that hosted refugee scenes in 1922 and again in 2015.

Ziand Antar with “Tokyo Tonight” sets up a playful paradox with sheep and shepherds who could, with the same natural, being in Tokyo or Pedion Areos. In his second work presented in the exhibition, entitled “Metronome”, it measures the rhythm and cycle of life and loss, with the help of a metronome and children’s instruments.

At the site of the Park, where the river is located, Moritz Simon Gaist with the “Hard Times-Soft Sounds” (“Hard Times- Soft Sounds”) creates a dreamy path with its full water shells, which move gently and produce an almost hypnotic sound.

In the same area, at a point where the trees create a hug, Nather’s “Mother” work, a sculpture of a mother goddess, who could have just been discovered in an excavation or coming from the future, has been ready to be pregnant and attacking at the same time.

Joanna Chatzitmas and Halil Zorez from Lebanon are inspired by Seferis in their work “Where is my mind?” And we are whispering for centuries through an endless parade of headless and intangible Hellenistic statues and digital elements. The work has been placed in front of the funeral monument of the Hierolochites of World War II.

In the video of Ares Awakening, Ayia Kokkalis creates a pseudo -dimensional and wonders about the limits of our tolerance for the “other”, whether it is the “lost” creatures of the Areos or people and creatures that live next to us.

Parallel actions

The Plásmata app helps the visitor to make his own tour of the Park creatures.

“Plásmata 3” are framed by a series of actions. DJ sets are organized, live shows from Stegi.radio’s online radio, discussions with artists, researchers, residents and activists, short and long film screenings every Wednesday and Friday, workshops for businesses in the area. Pop-up food spots and bars from shops in the area have also been placed on the site.