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The Director of the Arts Administration program at Boston University,\u00a0Lanfranco Aceti<\/a>,\u00a0is proud to announce the premiere in the US, at the Boston Athenaeum<\/a>, of a new performance of Stefanos Tsivopoulos<\/a>:\u00a0One Too Many<\/em>. As part of ArtWeek Boston<\/a>, the debut performance in the United States will include a brief post-performance talk about Tsivopoulos\u2019 piece between Professor Lanfranco Aceti and artist Stefanos Tsivopoulos. Tsivopoulos represented Greece at the 55th Venice Biennial. Themes of the artist\u2019s relationship with Greece continue to present in his work, including One Too Many<\/em>.<\/p>\n During this performance piece, performers intermittently present a series of photographic archives that show crowds of different political rallies from the era of Metapolitefsi in Greece. The Metapolitefsi (Greek: \u039c\u03b5\u03c4\u03b1\u03c0\u03bf\u03bb\u03af\u03c4\u03b5\u03c5\u03c3\u03b7, translated as \u201cpolity\/regime change\u201d) was a period in modern Greek history after the fall of the military junta of 1967\u201374 that includes the transitional period from the fall of the dictatorship to the 1974 legislative elections and the democratic period immediately after these elections. Many consider that the Metapolitefsi ended with the Greece\u2019s entry in the EU and the Euro in 2002.<\/p>\n One of the markers of Metapolitefsi is massive political rallies that took place exclusively in Syntagma Square, Athens. The trend marked a new era of democracy and the official end of the civil conflict, but also solidified populism and corruption in the Greek political system.<\/p>\n For ArtWeek Boston, One Too Many<\/em> will be performed in the Boston Athenaeum. The location was a deliberate choice, allowing for the juncture of the physical space with the ideological content of Tsivopoulos\u2019 work.<\/p>\n \u201cTsivopoulos\u2019 performance places within the Boston Athenaeum,\u201d wrote Aceti \u201ca history of a recent past waking up a Greek historical\u00a0archive and embedding it in the performer\u2019s movements. This work of art, with its subtleties, obliges us to re-think the history of social engagement and the relation between the individual and the masses. In the contemporary political Western climate \u2013 which has strained social relations \u2013 the definition of populism much bandied about becomes a populistic statement in itself by corrupt partitocracies that have been, particular in Europe, unable to respond to the dismantling of the concepts of state and society without providing sound alternative frameworks. After having transformed politics into a process to dispense handouts, a process particularly visible in the Mediterranean, and not as a framework of social participation, now the lack of goods to be handed out due to the prolonging of the economic crisis is showing the fraying of the fabric of society. Emptied of a social vision, society manifests itself in individual\u2019s gestures of immolation and rejection or in mass movements of \u00a0anger and rejection. This strikingly simple performance of Tsivopoulos, using as a starting point the recent history of Greece and its turmoils, offers a moment of reflection on the relation between the individual, history, archive and the transformation of social structures in a moment in which it all seems to blend in the hypnotic visions presented by old and new charlatans. The body \u2013 in Tsivopoulos\u2019 work of art \u2013 becomes the breathing history of archives which through broken movement and partial knowledge offers to the viewer, with a mere glimpse, the illusion that there may be an explanation and a solution hidden somewhere awaiting to be discovered.\u201d<\/p>\n One Too Many<\/em> by Stefanos Tsivopoulos will debut Saturday October 1, 2016, from 01:00 pm to 2:00 pm<\/strong> at the Boston Athenaeum<\/a>\u00a010\u00bd Beacon Street,\u00a0Boston, Massachusetts 02108. The event is free and open to the public.<\/p>\n This event is supported by the\u00a0Museum of Contemporary Cuts<\/a>. The Master Lecture by Stefanos Tsivopoulos, part of THE SOCIAL conference, is supported by the Boston University Center for the Humanities.<\/p>\n This performance is part of\u00a0THE SOCIAL<\/a>, the International Biennial Conference of Visual Culture. The conference and its programs of events are\u00a0free for speakers and attendees<\/a>. If you wish to join the conference\u00a0please register here<\/a>.\u00a0The program of THE SOCIAL can be accessed here.<\/a><\/p>\n If you wish to support the\u00a0Museum of Contemporary Cuts<\/a>\u00a0and its art programs\u00a0we have a Kickstarter for the artworks at this link<\/a>.<\/p>\n Image credit: Stefanos Tsivopoulos, One Too Many<\/em>, 2016. Courtesy the artist and Kalfayan Galleries, Athens \u2013 Thessaloniki.<\/p>\n Stefanos Tsivopoulos (Gr\/NL), is living and working between Amsterdam, Athens and New York.<\/p>\n His works often result from a long-term research into historical films and photographic archives, and are typified by a poetic cinematic language and the use of allegoric narratives. Tsivopoulos\u2019 art practice is driven by an interest in the social, political and economic aspects that determine the production and use of images in the mediated world we live in. His films are presented extensively in both art museums and film festivals around the world. In 2013, he represented Greece in the 55th Venice Biennial with his multifaceted video installation\u00a0History Zero<\/span>.<\/p>\n Recent solo shows include:\u00a0History Zero,\u00a0<\/span>MuCEM, Museum of Civilizations of Europe and the Mediterranean, Marseille;\u00a0History Zero,\u00a0<\/span>Center of Contemporary Art State Museum, Thessaloniki;\u00a0History Zero,\u00a0<\/span>Museum of Cycladic Art, Athens (2014);\u00a0History Zero,\u00a0<\/span>Greek Pavilion, 55th<\/span>\u00a0International Exhibition La Biennale di Venezia;\u00a0History Zero,\u00a0<\/span>Stella Art Foundation, Moscow (2013);\u00a0The Future Starts Here,\u00a0<\/span>Aischylia Festival, Elefsina (2012);\u00a0The Blind Image,\u00a0<\/span>ISCP, New York (2011);\u00a0Amnesialand,\u00a0<\/span>Heidelberg Kunstverein;\u00a0The Real The Story The Storyteller,\u00a0<\/span>Smart Project Space, Amsterdam (2010);\u00a0The Real The Story The Storyteller,<\/span>\u00a0Museum of Contemporary Art, Belgrade (2009).<\/p>\n A selection of group exhibitions include:\u00a0Unstated (or, Living Without Approval),<\/span>\u00a0BAK, Utrecht;\u00a0PIGS<\/span>, Artium, Vittoria-Gasteiz;\u00a0Indecision<\/span>, MOANA, Perth International Arts Festival, Perth;\u00a0Hacking Habitat<\/span>, Foundation Niet Normaal, Utrecht; (2016);\u00a0Europe-The Future of History,<\/span>\u00a0Kunsthaus Zurich;\u00a0The Beast and The Sovereign<\/span>,\u00a0<\/b>MACBA, Barcelona;\u00a0A Brief History of the Human Kind,\u00a0<\/span>Jerusalem Museum;\u00a07 Places 7 Precarious Fields,\u00a0<\/span>Fotofestival, Kunsthalle Meinheimm;\u00a0What is to Come Has Already arrived,\u00a0<\/span>MUSAC de Castilla y Leon;\u00a0Prophetia,\u00a0<\/span>Juan Miro Foundation, Barcelona (2015);\u00a0TV as Material 3: The Television Studio,\u00a0<\/span>Tate Modern, London;\u00a0The Invisible Hand: Curating as Gesture,\u00a0<\/span>2nd CAFAM Biennial, Beijing;\u00a0Hans im Gluck \u2013 Kunst & Kapital,<\/span>\u00a0Lehmbruck Museum, Duisburg;\u00a0Agitationism,\u00a0<\/span>EVA Biennial, Limerick;\u00a0What is to Come Has Already Arrived,\u00a0<\/span>Centro Andaluz de Arte Contempor\u00e1neo, Seville;\u00a0UHF42,\u00a0<\/span>APEXART NY, Wattan TV Ramallah (2014);\u00a0Ici, Ailleurs,\u00a0<\/span>Friche la Belle de Mai, Marseille;\u00a0Rencontres Internationales,\u00a0<\/span>Paris\/Berlin\/Mardid, Haus Der Culturen Der Welt, Berlin (2013);\u00a0Extraction,<\/span>\u00a0The Penzance Convention, Cornwall;\u00a0Scramble for History,\u00a0<\/span>SALT, Istanbul;\u00a0Anatomy of Integration,\u00a0<\/span>4th<\/span>\u00a0Sculpture Quadrennial Riga (2012);\u00a0The Rest is History,\u00a0<\/span>Manifesta 8, Murcia;\u00a0On Morality-Act III,<\/span>\u00a0Witte de With, Rotterdam;\u00a0Practicing Memory,<\/span>\u00a0Fondazione Pistoletto, Biella;\u00a0FAQ Serbia,<\/span>\u00a0Austrian Cultural Forum, New York;\u00a0Hors Pistes-Un Autre Mouvement des images,\u00a0<\/span>Centre Pompidou, Paris (2010);\u00a0Reading the city,\u00a0<\/span>EVA Biennial Limerick;\u00a0Monument To Transformation,\u00a0<\/span>City Gallery, Prague;\u00a0The First Image,\u00a0<\/span>CRAC LR Art Center, S\u00e8te;\u00a0One Giant Leap,<\/span>\u00a0BFI Southbank, London (2009);\u00a0Salon of the Revolution,<\/span>HDLU October Salon, Zagreb;\u00a0Mourmouring images,\u00a0<\/span>Centre Photographique d\u2019Ile de France, Paris;\u00a0Revolution I love you,<\/span>\u00a0Trafo Gallery, Budapest;\u00a0Monitoring,<\/span>\u00a0Friedericianum, Kassel (2008);\u00a0In Present Tense,<\/span>\u00a0Museum of Contemporary Art, Athens;\u00a0Destroy Athens,<\/span>\u00a01st Athens Biennale (2007).<\/p>\n