HOW IT IS

The brand new hybrid space at the emerging cultural capital of Athens, OKAY initiative space, presents its first group exhibition, ‘HOW IT IS’. It is found in the centre of the Athenian neighborhood Kypseli, and opens its doors to the public in the spring of 2022, with the goal of presenting and promoting up-and-coming artists. “ten meters one hour forty minutes six meters one hour or better is clearer one palm one minute I remembered my days palm size my my life is nothing a man one breath small movements of the lower face sound no or very weak” In 1959, Becket writes the prose HOW IT IS. An avant-garde text without a framework of punctuation, it is produced in a fluid way that uses simple, everyday language to create different contextual associations. Articulations. Verbal articulations. Bone articulations. Metal and wooden. HOW IT IS a constructed articulation, that is somehow, but also somehow done differently… so HOW IT IS, but maybe it can also be like that, and otherwise different. Besides, new articulations make new associations. Questions hanging in the air, dead-ends, inflammatory and new examples. The exhibition HOW IT IS deals with a body of artworks inside of which there is an experimental variety of materials that attempts to break away from an apparent functionality, transporting us to a scope of alternative narratives. Artworks that use practises that could signify dissolution, eventually spanning new potentials. With the affirmative title, HOW IT IS, the artworks are presented as different aspects of this statement, committed to different angles that, while analysing everyday artificial ingredients, return to the practical elements of the articulation. Katerina Dania composes and assembles with sensitivity and tenderness contemporary ‘spolia’, each of which carries its own story. Philippos Tatakis explores liminal landscapes and attempts to transcribe their phenomena through recordings, abstractions and repositioning of material finds. Konstantina Tsagianni, highlighting dormant urban places and articulates new (non-)functional uses of them through the human body, that proposing it as a measure of reading our environment. Miltiadis Dikgas looks to the inner-parts of the living organism to be led to an understanding and re-contextualization of the ‘cosmos’. Yannis Voulgaris composes an enigmatic set-structure, imbued with symbols, and invites the viewer's body to mill it in order to discover its underlying narratives. Captain Stavros assembles constructions that oscillate between the ‘enigmatic’ and the ‘fantastic’, and then, with the intervention of ‘parody’ (as a dissolving process), are transformed into their antithesis, the ‘grotesque’. Lastly, Katerina Moschou collects everyday personal perspective-views and then exploits them and articulates visually-fragile structures that map ‘convergences’ and ‘divergences’ in causality-intimateness relation