Food for Thought
30|8|2021 - 16|1|2022
Museum Rijswijk (NL)
Textile Biennale curated by Diana Wind
article by Maria Katsounaki
21|10|2020
I Kathimerini
A very gentle mention about my solo show To-Date on my favorite newspaper
by Maria Katsounaki
©photo: Anne Deschuytere
To - Date
12|9|2020 - 25|10|2020
solo show co-curated by Gelly Gryntaki
Mulier Mulier gallery (BE)
"In a continuous fluidity and movement, Ikonomopoulou’s artistic research moves around several thematic centres, beyond representation, keeping all of her works connected through conceptual lines. Her artworks do not create specificities but are open to continuous renewal. Her artistic practice hence cannot be considered as linear but rhizomatic.
In this sense her new body of work, deriving from the multiple conceptual midpoints her previous ones has produced and adopting the more experimental and fragmental form of études continue, transform and renew her research in the idea of border, connecting the fear of the Other and the need for safety with the immense –limitless– amount of information we receive in a daily basis."
Great Rotterdam Atelier Weekend
26|9| 2020 - 27|9|2020
Open Studio's @ Bosland
We are a small coherent group of professional artists, working in completely different disciplines : Hans Wilschut, Ellemieke Schoenmaker, Lizan Freijzen, Silvia B., Maria Ikonomopoulou
Surroundings
4|7|2020 - 30|8|2020
Mulier Mulier gallery Knokke (BE)
Art & Language, Tadashi Kawamata, Fischli & Weiss, Beat Streulli, Robert Mapplethorpe, Dan Graham, Jef Wall, Guy Van Bossche, Marc Vanderleenen, Bradley Kronz, Maria Ikonomopoulou, Jack Early, Andy Warhol
Publieke Werken 2020
9|7|2020 - 9|8|2020
Rotterdam
A poster with my work Trapped . 2020, is part of the first edition of the project Public Works Rotterdam and can be seen until 9 August on the pedestrian path of the Schiekade towards Hofplein in Rotterdam.
Anthology - opening speech by Kees Weeda
8|3|2020 Walgenbach art&books, Rotterdam
On my work table at home is a beautiful Perspex book display stand, the kind you see in better quality bookshops. The stand holds a book, an indecipherable book, which I often read. The pages are covered with lines, dashes, full stops, but they do not form letters. And yet I read it. I probably need to offer some explanation, even for a group of people for whom metaphors and paradoxes are everyday fare. The book, really more the size of a brochure, was made by two artists: Maria Ikonomopoulou and Anastasia Mina. They both made 6 drawings, and made 1 together. The book has two front covers and no back: when you have seen the work of one artist, you have to turn the book around to see the other’s work. Or keep turning the pages, in which case you’ll see half of the book upside down. Which, at the same time, subtly raises the issue of top and bottom in abstract art. It is produced on Moleskine Folio 100gsm acid-free paper. The cover is made from top quality Saunders Waterford watercolour paper, 300gsm, glued on 4 sides, acid-free and age-resistant, made in England. (This so that you can picture it). It is called syn[chrono]sides - with the word chrono in square brackets. I bought it in 2014.
How can you read a book that has no letters? You might say that you can only look through it, and in the first years that I had the work, that is what I did. But at some point I noticed that I started looking at the pages differently: I began to read them. (Read and touch because there are intervening pages that, like braille, consist solely of raised dots.) And then I ‘read’ the story of Maria. Admittedly, I have some prior knowledge, but even so, it is fascinating to think how this work is a kind of pars pro toto for Maria’s oeuvre. The precision, the love, imagination and the beauty of all her work are reflected in the pages of this little book. And if you buy the monograph, you will see – in so far as the connoisseurs don’t already know – that these qualities typify all of her work. And then – at least for me – a fascinating contrast emerges, which may not be that at all but, for the sake of argument, I assume it is. Those familiar with Maria’s biography might be surprised by the intricacy, perhaps even the unobtrusiveness of her work. A conversation with her soon turns to politics, the role of art and the artist in society, the deplorably scant resources this country accords the imagination, and the injustice of the world in general.
Such conversations clearly reveal Maria’s dauntless courage and perseverance. Qualities you sorely need, even in a country where everything seems to be well organised. Although it is generally the case that young artists struggle to build a professional practice after graduating, for someone still learning the language, and who doesn’t yet have a residence permit, things are a little more complicated. You can only survive by working a variety of jobs, and retrain so that you’re qualified to teach – preferably children in deprived communities. And, meanwhile, continue to work, keep working long and intensely. In his wonderful biographical sketch of Shostakovich, Julian Barnes writes, “Art is the whisper of history, heard above the noise of time.”
I could not describe Maria’s work with any greater accuracy. It is not the grand gesture of installations, fist-thick paint on copious square metres of canvas or ‘in your face’ socio-political critique. Even in her commissioned monumental work, such as the talisman cabinet for the Ronald Macdonald house (1998), she avoids the grand gesture and seeks compassion for the world in the precision of her visual power. Or the intervention at the Athens art fair in 2010: a series of vegetables and herbs in pots on the steps of the building, with the title of the work cut out above it as a garland: Growing Hope - in my opinion the main driver of her artistic practice. Whispered hope that will only grow stronger and more beautiful through the patina of time.
Hey, there you are, Maria said when she came by to pick up the work she wanted to photograph and saw the painting we bought from her in 1994 or thereabouts. She gently tapped it on the top and at that moment I understood why an artist feels the need to document her work, as we can see in the Anthology. Naturally, it’s primarily to create an overview, but there is also a need to hold the work, to see that it’s being well cared for. She herself feels in two minds about it: a monograph offers clear insights into her practice and yet reflecting on her own work is not Maria’s favourite pastime. I’m happier, she says, when I make things rather than reflect on them. The painting that Maria tapped is a small portrait of a child painted on wood, an intriguing, somewhat asymmetric face of a child looking at the viewer. A sober colour palette and great implicit expressiveness. The portrait is painted on plywood, with two panels mounted left and right, painted black, which fold together to close over the painted panel in the middle. If you do that (“if you’ve had enough of looking at it,” said Maria then), what you see on the wall is a black square.
The work dates from 1994 and over the years I started thinking about why I found it so intriguing. In the late 14th century the triptych rapidly emerged, mainly as an altarpiece, with scenes painted on the backs as well as the fronts of the panels. An efficient way to tell a story; if the piece is free-standing, the painter has six images to tell his tale, six images (and two when the panels are closed) that tell a coherent story. In Maria’s ‘triptych’ of the child's face, only 1 panel is painted, the other five are black. Open, it measures 69x34 cm. When the panels are closed, a square, black piece of wood measuring 34x34x5cm hangs on the wall. And instantly inspires another, unmistakable association, with the black Suprematist painting by Kazimir Malevich. The 14th century and Malevich, unified in a small portrait. The mystery of the painting emerges bit by bit. What initially seems to be an aid for the viewer is a portal into the mystique of painting: here is a work of art that combines the tradition of the 14th century pictorial narrative convention with one of the most revolutionary advances in painting: absolute zero, which Malevich wanted to attain. And the association goes a level deeper. When it went on display in the 1915 exhibition in St. Petersburg, the “Black Square” was hung in the ‘sacred corner’ of the room, the spot where Russians hang their Christian icons. Open the panels of the painting by Maria Ikonomopoulou, look at the portrait of the child in the white lace collar and you will appreciate what she has made: a beautiful icon.
Incidentally, I have not often closed the shutters. And that, ladies and gentlemen, is just one more example of the beauty that can be seen in the wonderful Anthology. In my home its place will be next to the Perspex book stand.
less8|3|2020 Walgenbach art&books, Rotterdam
On my work table at home is a beautiful Perspex book display stand, the kind you see in better quality bookshops. The stand holds a book, an indecipherable book, which I often read. The pages are covered with lines, dashes, full stops, but they do not form letters. And yet I read it. I probably need to offer some explanation, even for a group of people for whom metaphors and paradoxes are everyday fare. The book, really more the size of a brochure, was made by two artists: Maria Ikonomopoulou and Anastasia Mina. They both made 6 drawings, and made 1 together. The book has two front covers and no back: when you have seen the work of one artist, you have to turn the book around to see the other’s work. Or keep turning the pages, in which case you’ll see half of the book upside down. Which, at the same time, subtly raises the issue of top and bottom in abstract art. It is produced on Moleskine Folio 100gsm acid-free paper. The cover is... read more
Maria Ikonomopoulou . Anthology
8|3|2020 - 30|6|2020
Walgenbach art&books, Rotterdam
book launch and exhibition
Kees Weeda opening speech (NL)
Bright Days Ahead
5|12|2019 - 31|1|2020
Commeter gallery, Hamburg (DE)
100th anniversary I Kathimerini
2019
During the last 10 years I often use editions of the Greek daily newspapers I Kathimerini as material for my artworks. A lot of editions my mother used to send me by post and more recent editions, which dear friends are collecting for me, have been transformed into art pieces.
Since the news paper is celebrating his 100th anniversary this year, Maria Katsounaki and Maria Kakaounaki have made a reportage about the readers. Video by Chronis Tsichlakis and Kostis Papadakis
100th anniversary I Kathimerini
Cover book Knot to Knot
2019
I feel honored to have the image of my work 'Need to Grow-2' on the cover of the book 'Kompo ton kompo' (knot to knot) by Dimitra Louka.
It is a collection of narrated stories, written in the idiom of the speaking individuals. People of the Greek countryside with no higher education are telling their life stories by using the astonishing power of the Greek language. The book is beautifully published by Kichli Publishing.
Orde en Chaos
11|5|2019 - 14|2|2019
Sint-Joriskerk, Amersfoort
400 years after the cruel end of Johan van Oldenbarnevelt's life, 26 artists are invited by gallery The Ploegh in his birthplace Amersfoort, to reflect on his heritage for The Netherlands. I am proud to be part of the selection and contribute to this show inspired by his life and work with three pieces.
opening word by Landa van Vliet
3|5|2019
Goethe Institute, Rotterdam
We don't know any better than mythology being thing of the past; tales of gods and goddesses, love, betrayal, war, births that happened centuries ago, and deaths of heroes and the vanquished, with endlessly branching family trees. No one needs an explanation to understand myths - tales of earthly and metaphysical societies, which are translated into contemporary retellings generation after generation. In the work of Maria Ikonomopoulou, we see the world around us. Greek by birth, lucky lady, from a family tree forged by a civilization thousands of years old. Do myths run in her blood?
What do we see? An amalgam of techniques and processes; reworkings of Greek newspapers, paper cutouts, embroideries and drawings on paper and photographs, photos, yarn, wool, beeswax - an oeuvre and a life of endless patience and surrender. Like an industrious curly-haired bee, every day she processes her observations and fashions them into a labyrinth at the hive's very heart.
Consider this: every newsprint flower is cut by hand; every newspaper flower has multiple layers held together by a small embroidered pistil baskets full. Baskets? Maria applies equal precision to minor details. The embroidered flowers, which will become the material for an artwork, are placed in one basket, not an ordinary container. Her practice is suffused with such refinement and love of the material. Like a myth, a family history and an allegory of the generally human, the attention she lavishes on minutiae is a reflection on the infinite.
The unhurried process of creation is often a social one in which she works with people who cross her path. Youn and old cut and embroider with her, using a variety of techniques. She uses the power of craftsmanship and connects people in her public works such as 'Growing Ground', where plants, herbs and chalk drawings are installed in the public space. It is not just the gesture, the myth of the artist who speaks out, who radiates power, but rather an invocation of public responsibilities; all of us must care for the young plants of the street. She 'softens' the city, she lets it touch our hearts.
Maria Ikonomopoulou said to me: You can keep pointing a finger shouting and saying: They have to change it (see her series 'Wallpapers' and 'Zero' in which, with paper flowers and embroidery critique, she meditates like a monk on worldly affairs). THEY, the politicians, have set us on this slippery slope, but the only thing we can and probably should do, is tackle things together, stop pointing at each other. Don't grieve for the lack of guides, a theme she incorporated into 'Lost', a work inspired by a sculpture, the charioteer of Delphi with the broken reins. We're looking for people who seize the reins and lead the country in the right direction. For decades, the powerbrokers and politicians have believed in their own credibility, hiding behind sham solutions then suddenly reappearing and brazenly proposing short-term solutions. How can that happen? 'Corruption' is her sobering answer.
Ten years of crises, twelve new laws concerning the tax system. We, here, have the good fortune of enjoying her gently provocative artworks, with their pensive reflections and lightheartedness. It is the lightest form of crisis criticism imaginable - it stymies the myth of power struggles and affirms myth as poetry. It is Rotterdam-Greek-European-Taoism.
Keep travelling and returning home in your work, wherever that may be: Athens, Antwerp, Rotterdam. I hereby present you with a skein of scarlet wool to make sure we don't lose you, and you 'll never be without yarn. Stay with us, like Ariadne, to offer consolation and help to put this world into perspective in this mire of greed and misuse of power and the struggle for existence.
Landa van Vliet
May 2019
speech given during the exhibition Fragments 2013-2019 in the Goethe Institut, Rotterdam | translation by Lisa Holden | photo by Marieke van der Lippe
less3|5|2019
Goethe Institute, Rotterdam
We don't know any better than mythology being thing of the past; tales of gods and goddesses, love, betrayal, war, births that happened centuries ago, and deaths of heroes and the vanquished, with endlessly branching family trees. No one needs an explanation to understand myths - tales of earthly and metaphysical societies, which are translated into contemporary retellings generation after generation. In the work of Maria Ikonomopoulou, we see the world around us. Greek by birth, lucky lady, from a family tree forged by a civilization thousands of years old. Do myths run in her blood?
What do we see? An amalgam of techniques and processes; reworkings of Greek newspapers, paper cutouts, embroideries and drawings on paper and photographs, photos, yarn, wool, beeswax - an oeuvre and a life of endless patience and surrender. Like an industrious curly-haired bee, every day she processes her observations and fashions them into a labyrinth... read more
Fragments 2013 - 2019
3|5|2019 - 24|5|2019
Goethe Institute, Rotterdam
solo show, Ubergangsweise # 8
At the Beginning Was the Word
28|11|2018 - 17|1|2019
National Art Museum of China
part of the collection of the National Museum of Contemporary Art of Athens travels to China to be exposed at the National Art Museum of China (NAMOC)
curated by Katerina Koskina and Anna Mykoniati
Meermanno Museum
2018
Proud to announce that the edition 11/45 of the artists book syn[chrono]sides with 13 original drawings by Anastasia Mina and Maria Ikonomopoulou is now part of the collection of the Meermanno Museum, House of the Book, The Hague (NL)
Canvas tv
10|2018
canvas.be
A short documentary (spoken language : dutch) about the works related to crisis in Greece.
Interview : Jan Blondeel
Camera : Louk Voncken
Old editions of Kathimerini trasformed ...
14|6|2018
newspaper I Kathimerini
"Old editions of Kathimerini transformed in pieces of Art and beauty"
article by Margarita Pournara
Unguided Tour
7|6|2018 - 30|6|2018
Martinos gallery, Athens (GR)
Vasilis Zografos . Irini Bachlitzanaki . Maria Ikonomopoulou
Bright Days Ahead
6|12|2017 - 30|1|2018
Commeter gallery, Hamburg (DE)
Women's Methodology
8|10|2017 - 10|12|2017
Mulier Mulier gallery, Knokke (BE)
Nancy Spero . Maria Ikonomopoulou . Judy Rifka . Karen Kilimnik . Jenny Holzer . Niki de Saint Phalle . Annette Messager . Claude Lalanne . Kimsooja . Kara Walker . Marthe Wéry . Barbara Kruger
Een 'carte postale' from the Greeks...
1|11|2017
I Kathimerini
'Een carte postale from the Greeks of Rotterdam'
article by Dimitris Athinakis
Rotterdam Metamorfosen
10|9|2017 - 1|1|2018
Verhalenhuis Belvedere, Rotterdam
Learning from Documenta
27|10|2016 - 13|12|2017
Cc Strombeek, Grimbergen(BE)
Learning from Documenta
27|10|2016 - 13|12|2017
S.M.A.K. Ghent (BE)
Learning from Documenta
27|10|2016 - 13|12|2017
BrassArt, Brussels (BE)
Be my Guest
29|9|2017 - 6|10|2017
VZ studio, Thessaloniki (GR)
Angeliki Douveri, Kyriaki Maurogeorgi, Maria Ikonomopoulou
curated by Vasilis Zografos
Bolero - station : Athens
3|7|2017 - 9/|7|2017
Eos gallery, Athens (GR)
BachliTzanakou (Irini Bachlitzanaki & Maria Tzanakou), Despina Meimaroglou, Els Vanden Meersch, Maria Ikonomopoulou, Myrto Xanthopoulou
curated by Maria Ikonomopoulou - Els Vanden Meersch
School Etymology
12|8|2017 - 16|8|2017
Friedrichsplatz, Kassel (DE)
public intervention during
Documenta 14
syn[chrono]sides
7|6|2017
Hellenic Centre, London (GB)
presentation of the artist book and panel discussion
Anastasia Mina, Maria Ikonomopoulou with
Nathalie Boobis
The Greek Counter Example
6|4|2017 - 12|4|2017
MulierMulier gallery, Diplareios School, Athens (GR)
curated by Thanassis Moutsopoulos/Manos Stephanidis
School Etymology
6|4|2017 - 16|7|2017
National Museum of Contemporary Art, Athens (GR)
public intervention during Documenta 14
Such a Tender Nothingness
2|12|2016 - 17|12|2016
Dutch Institute of Athens (GR)
curated by Angeliki Douveri
Hommage to NIKOS ALEXIOU
16|9|2016 - 15|10|2016
CAN gallery, Athens (GR)
Nikos Alexiou, Lefteris Alexiou, Maria Ikonomopoulou, Lefteris Tapas, Dimitris Tataris. Stratis Tavlaridis
29th Moscow International Book Fair
7|9|2016 - 11|9|2016
29th International Book Fair, Moscow (RUS)
Delighted to announce that the artists book syn[chrono]sides, is part of the selection made by the Greek State Museum of Thessaloniki to be presented at the 29th Moscow International Book Fair.
Border Lines
23|6|2016 - 30|6|2016
De Aanschouw, Rotterdam
curated by Ivo van den Baar
rho[e]mb-[asm]-i
2016
Cube Art Editions
cover for a notebook commissioned by Cube Art Editions
23,5 x 15,5 cm /56 blank pages
folded silkscreen
ed. 400
The Rhombus as an option for the letter O was the beginning of this drawing. The state of Musing (that in Greek has the same origin as the word Rhombus) is what happens during the process of drawing.
Art Athina 2016
26|5|2016 - 29|5|2016
Art Athina fair, Athens (GR)
Mulier Mulier gallery, booth C5
Typography as an act of art
12|4|2016 - 20|9|2016
Greek State Museum, Thessaloniki (GR)
the artists book syn[chrono]sides is part of the show
finding Ling-Ling's head
April - September 2016
Cookie Butcher, Antwerp (BE)
works from the Verhaegen Family Collection (Part II)
syn[chrono]sides
22|12|2015 - 9|1|2016
Elika gallery, Athens (GR)
Art Athina 2015
4|6|2015 - 7|6|2015
Art Athina fair, Athens (GR)
MulierMulier gallery
Art Calendar Rotterdam 2015
contribution for page 4|5|2015
a piece inspired by the poem 'Tulips' of the dutch poet T. van Deel
Art Eco - Attitudes
9|1|2015 - 12|1|2015
Cc Strombeek Grimbergen, Brussels (BE)
syn[chrono]sides
30|11|2014
Walgenbach Art & Books, Rotterdam (NL)
launch of an artists book in limited edition (45) with drawings by Anastasia Mina and Maria Ikonomopoulou
Transformation
DEPO DARM Contemporary Art Space, Athens (GR)
10|12|2014 - 28|1|2015
curated by Artemis Potamianou
Christina Mitrentse, Elias Kafouros,
Eva Marathaki, Giorgos Tserionis,
Ino Varvariti, Maria Ikonomopoulou,
Nikos Papadimitriou, Thanos Klonaris
a for Athens Voice
August 2014
cover for the summer edition of the free press Magazine, Athens Voice (GR)
ntvg Magazine
Januari 2014
The piece Growing Care Athens - 1, since 2012 part of the collection of the Leiden University Medical Center in Leiden, has been used for the cover of The Dutch Magazine for Medical Science.
Not About Flowers
2|6|2014 - 31|8|2014
Wilms gallery Venlo (NL)
The work of Maria Ikonomopoulou is many-sided. Using a range of modern and traditional techniques she creates beautiful pieces that raise a lot of questions about contemporary society.
Since 1991 Maria Ikonomopoulou has built up a small art collection. Four artists represented in her collection are invited to show new work: Alexandra Roozen, Katrijn Verstegen, Margriet Thissen en Rien Jansen.
Augustus 31 at 15.00 Maria Ikonomopoulou will talk in the gallery about her work and about her collection.
The Rule of Law and the Right to be Human
30/|4|2014 - 13|6|2014
Athens School of Fine Arts, 'Nikos Kessanlis' Exhibition Venue, Athens (GR)
curated by Thalia Vrachopoulos
O
5|2014
special contribution for the Tortuca #34, Art and Literature Magazine
O - Tortuca #34
10|5|2014
launching of the #34 edition of Tortuca, Art and Literature Magazine at the Poetry Center, Ghent (BE) with my special contribution O
Reflections on Art and Literature
22|2|2014 - 22|3|2014
Rosalux artists run space, Berlin (DE)
curated by Artemis Potamianou and Thalia Vrachopoulos
Lecture
11|8|2013
Coda museum Apeldoorn (NL)
Lecture about the two new series, Wallpapers and Crisis Transformation special made for the exhibition Coda PaperArt. Both series are inspired by the economical and social crisis that Greece has to deal with since 2009. Background information and more about the conditions during the making process will be shared with the public. As well as the similarities of the new installations with earlier ones and my relation to the paper material.
Paper Art
10|6|2013 - 27|10|2013
Coda Museum, Apeldoorn (NL)
Ms Europa 2
2013
The piece City Flowers - Futura is part of the collection of MS Europa 2 cruise ship, here to see next to a piece by Peter von Felbert.
Meeting Greece #1
8|6|2013 - 21|7|2013
MulierMulier gallery, Knokke (BE)
curated by Guy Van Bossche
Vlassis Caniaris, Maria Ikonomopoulou, Varvara Liakounakou, Eleni Paschalidis, Takis
Art Athina 2013
16|5|2013 - 19|5|2013
Art Athina fair, Faliro Pavillion, Athens (GR)
MulierMulier gallery, booth D5
Temporary / Timeless
10|1|2013
Amolf Institute, Amsterdam (NL)
Temporary / Timeless is a commission for the entrance of FOM institute AMOLF's newly built home. The floor piece is based on visual elements and textual phrases from current research projects. Many researchers from AMOLF's different laboratories contributed to this art work.
LUMC collection
2012
Two pieces of the series Growing Care - Athens are now part of the LUMC collection, Leiden (NL)
Novosibirsk- Graphic Arts Triennal
7|9|2012 - 28 |10|2012
Graphic Art Triennial, Novosibirsk (RUS)
Graphic Arts Triennal
7|9|2012 - 28 |10|2012
State Art Museum, Novosibirisk (RUS)
the Love Letters at the Graphic Arts Triennal
Dimensions of Paper
10|7|2012 - 9|9|2012
LUMC gallery, Leiden (NL)
Group show curated by Sandrine van Noord.
The piece Growing Interweaves is being especially realized for the show.
LUMC gallery
10 x 10 Ten artists and ten writers
12|6|2012 - 14|7|2012
Choros Tehnis 24 gallery, Athens (GR)
Following the Thread
2012
Elephant Magazine #9
article by Margherita Dessanay about the use of embroidery in contemporary art
Re:Rotterdam
9|2|2012 - 12|2|2012
Re:Rotterdam art fair, Rotterdam (NL)
Myths in Critical Times
Re : Rotterdam art fair
9|2|2012 - 12|2|2012
Re:Rotterdam art fair, Rotterdam (NL)
Critical Times
OCC (one Original Certified Copy one)
3|12|2011 - 14|1|2012
TinT gallery, Thessaloniki (GR)
50-1 gallery, Limasol (CY)
group show curated by Eleni Riga
Art Calendar Rotterdam 2012
City Fowers - Theokritos is my contribution for the page 10|2|2012 of the Art Calendar
Art Calendar 2012
11|11|2011
Launch of the Art Calendar 2012 with contributions of 366 artists, photographers and architects based in Rotterdam
Reisberichten publication
Reisberichten presentation
Drawing Stories (2)
17|5|2011 - 16|7|2011
Ileana Tounta Contemporary Art Center, Athens (GR)
Graphos Biennale
22|5|2011 - 26|6|2011
Het Kruithuis, Den Bosch (NL)
The Love Letters at the Graphos Biennale
Art Athina 2011
11|5|2011 - 15|5|2011
Art Athina fair, Athens (GR)
Mulier Mulier gallery, booth B4
Article by Nelly Abravanel
17|4|2011
newspaper I Kathimerini (GR)
article by Nelly Abravanel about the exhibition Polyglossia
My page
Catalogue Polyglossia
edited by Marilena Karra, designed by A4 artdesign
Polyglossia
14|3|2011 - 30|6|2011
Onasis Cultural Center, Athens (GR)
curated by Marilena Karra
Nassos Daphnis, John Christoforou, Philolaos, Takis, Stephen Antonakos , Pavlos, Constantin Xenakis, Chryssa, Cris Gianakos, Jannis Kounellis, Lucas Samaras, Athena Tacha, Steve Gianakos, Lynda Benglis, Maria Klonaris / Katerina Thomadaki, Kalliopi Lemos, Jenny Marketou, Zoe Keramea, Maria Ikonomopoulou, Effie Paleologou, Evanthia Tsantila, Miltos Manetas, Katerina Christidi, Christina Dimitriadis, Vassiliea Stylianidou, Dimitris Tzamouranis, George Drivas, Maria Antelman, Giorgos Gripeos, Maria Zervou
Growing Memories
4|2011
Rex Magazine (NL)
Travel Messages
2010
Vlaardingen (NL)
Interactive project commissioned by the Kunstgebouw.
Citizens of the neighborhood Hoofdsteden in Vlaardingen are sharing their travel stories with me.
Why do we travel? What is it that we are looking for? Why do we need to share our travel experiences with others? How it comes that we observe differently our travel places than our living places?
Those are some of the questions we try to find answers on. Every week a new story is to read at the web site of the local free press.
Drawing Stories extended
The exhibition at the 50-1 gallery Limassol, Cyprus is extended until February the 26th.
Dimitris Foutris, Lefteris Tapas, Anastassis Stratakis, Nina Papaconstantinou, Nikos Navridis, Fryni Mouzakitou, Savella Michael, Panayiotis Michael, Eleni Kamma, Dionisis Kavallieratos, Elina Ioannou, Maria ikonomopoulou, Philippos Theodorides, Katerina Christidi, Pandelis Chandris, Yannis Scourletis, Eftihis Patsourakis, Antonis Donef, Dimitris Baboulis, Maro Michalakakos, Maria Loizidou, Thanos Klonaris, Christos Delidimos
WONDERBOOK
The Wonder of Our Art Collection on Allure of the Seas
produced and editied by International Corporate Art
Drawing Stories
20|12|2010 - 16|1|2011
50-1 gallery Limassol, Cyprus
Dimitris Foutris, Lefteris Tapas, Anastassis Stratakis, Nina Papaconstantinou, Nikos Navridis, Fryni Mouzakitou, Savella Michael, Panayiotis Michael, Eleni Kamma, Dionisis Kavallieratos, Elina Ioannou, Maria ikonomopoulou, Philippos Theodorides, Katerina Christidi, Pandelis Chandris, Yannis Scourletis, Eftihis Patsourakis, Antonis Donef, Dimitris Baboulis, Maro Michalakakos, Maria Loizidou, Thanos Klonaris, Christos Delidimos
GROOT GRAFIEK
3|12|2010 - 10|1|2011
Krabbedans, Eindhoven (NL)
Inge Aanstoot, Maria Ikonomopoulou, Jaron Korvinus, Wim Konings, Phoebe Maas, Saskia de Maree, Raw Color, BCXSY
During a year a group of artists and designers from Rotterdam and Eindhoven have being working on big size pieces in collaboration with the graphic studio Daglicht in Eindhoven. On show the results of the experiments.
Groot Grafiek
13|11|2010 - 6|12|2010
City Art Center, Rotterdam (NL)
Inge Aanstoot, Maria Ikonomopoulou, Jaron Korvinus, Wim Konings, Phoebe Maas, Saskia de Maree, Raw Color, BCXSY
During a year a group of artists and designers from Rotterdam and Eindhoven have being working on big size pieces in collarobation with the graphic studio Daglicht in Eindhoven. On show the results of the experiments with graphic techniques together with previous works of the participants.
Fantastische Fotografie:De Rotterdamse school toen
9|10|2010 - 7|11|2010
City Art Center Rotterdam
curated by Rommert Boonstra
Kimberly Clark, Iris van Dongen, Margi Geerlinks, Risk Hazekamp, Maria Ikonomopoulou, Juul Krayer, Ilse Leenders, Desiree Palmen, Schilte&Portielje, Bert Sissingh, Jean Marc Spaans, Marie Cecile Thijs, Lorelinde Verhees, Edwin Zwakman
Allure of the Seas
Allure of the Seas
Taseis Figis - Escapism
27|9|2010 - 23|10|2010
Kourd gallery, Athens (GR)
Andreas Angelidakis, Andreas Vais, Giorgos Gyparakis, Lydia Dambassina, Irini Karagiannopoulou, Thanos Klonaris, Panos Kokkinias, Dimitris Baboulis, Kostas Bassanos, Socratis Nikoglou, Maria Ikonomopoulou, Nina Papaconstantinou, Rania Rangou, Vassiliea Stylianidou, Thanasis Totsikas, Iris Touliatou
Emma van Drongelen - Maria Ikonomopoulou
19|9|2010 - 7|11|2010
NEW UNTITLED gallery, Venlo (NL)
duo show
House & Garden Magazine
'Techni ipo Skian' article by Dora Christidou, House & Garden Magazine (GR)
Hidden Memories, Lost Traces
7|9|2010 - 14|9|2010
Sinop Art Biennial, Sinop (TR)
Maria Ikonomopoulou - Raf Thys
19|6|2010 - 17|7|2010
VAN DEN BERGE gallery, Goes (NL)
Spice Lamp
2010
Private commission for a lamp at the house of a professional cook in Rotterdam (NL)
Names of spices for cooking can be read during a dinner on the inside of the lamp
100 x 100
4|6|2010 - 6|6|2010
Koetshuis, Rotterdam (NL)
Zwervende Tentoonstellingen #15
Art Athina fair, with Mirta Demare gallery
Expanded Drawing
8|4|2010 - 5|6|2010
Isabel Hurley gallery, Malaga (SP)
curated by Pilar Ribal
Raymond Chaves & Gilda Mantilla, Guy Goldstein, Sybille Hotz, Maria Ikonomopoulou, Takehito Koganezawa, Katie Paterson, Michal Shamir, Sophia Tabatabadze, Stephan Thiel, Mariana Vassileva, Brigitte Waldach, Gal Weinstein
ALL ABOUT WORDS
15|2|2010 - 25|3|2010
MulierMulier gallery, Knokke-Zeist (BE)
Art & Language, Robert Barry, Georg Brecht, Pier Paolo Calzolari, Hanne Darboven, Niki de Saint Phalle, Robert Filliou, Jenny Holzer, Maria Ikonomopoulou, Arthur Köpcke, Josef Kosuth, Richard Long, Marcel Mariën, Michel Majerus, Dennis Oppenheim, Panamarenko, Raymond Pettibon, Chérie Samba, Guy Van Bossche, Ben Vautier, Bernar Venet, William Wegman, Lawrence Weiner
In-scribe
3|2|2010 - 9|3|2010
Hellenic American Union, Athens (GR)
group show curated by Iris Kritikou
the art of being pure at *he*art
15/|12/|09
yatzer
interview by Apostolos Mitsios
©photo : Odysseas Lekkas
Intimate Distances
5|11|2009 - 31|12|2009
Martinos antique & art gallery, Athens (GR)
curated by Christina Petrinou
©photo Odysseas Lekkas
What is making?
Symposium in the frame of the textile weekend, Tilburg
Gamma Epsilon Delta
22|10|2009 - 28|11|2009
Tint gallery, Thessaloniki (GR)
group show curated by Els Hanappe
Let a Thousand Flowers Bloom
2009
Primary school 'Wereld op Zuid', Rotterdam (NL)
Seasons Magazine
'Griekse Zonnesteek' artikel by Margriet de Groot (page 15,16 )
Water aan het woord
3|2009
Lychnari Magazine (NL)
article by Wim Oudshoorn
AMOLF
working on the sketch for an art piece at the entrence of the new building of AMOLF institute, Amsterdam
City Flowers - Athens at Expanded Ecologies
Growing Interests at Expanded Ecologies
Expanded Ecologies
11|6|2009 - 4|10|2009
National Museum of Contemporary Art, Athens (GR)
group show curated by Daphne Vitali
Art Athina 2009
Art Athina fair
Mirta Demare international visual art,
booth C3, Athens (GR)
Textiel Plus Magazine
The Spaces Between Us, article by Marjolijn van Duyn
water aan het woord (water speaking)
Ringdijk, Wilnis
booking the book
artists book with works of Evangelia Biza, Penny Gkeka, Vasso Gaivasse, Nina Papakonstantinou, Maria Ikonomopoulou, Giorgos Tserionis, trekst by Maria Aggeli, designed by Evangelia Biza.
ed. 50
almost ready
water aan het woord almost ready at the studio of Zuliani in Zoetermeer
in progress
taking the last descisions about the colors of the piece water aan het woord for Wilnis
ArtistInTheWorld
My studio . 2009
©Andre Smith
Art Rotterdam 2009
Art Rotterdam fair / booth 65 / Mirta Demare gallery
Avant/Apres/Nu
5|12|2008 - 11|1|2009
Museo de la Ciudad, Queretaro (MX)
Mexico
29|11|2008 - 23|12|2008
Queretaro (MX)
residency in Queretaro, invited by the Universidad Autonoma de Queretaro for a 10 day's visiting lectures at the Art department
Queretaro
Source-Threads of origins passing into the present
28|11|2008 - 11|1|2009
Mirta Demare gallery, Rotterdam (NL)
Fatima Barznge, Isabel Ferrand, Maria Ikonomopoulou
City flowers
Growing Care (Rotterdam)
During some months Ikonomopoulou took pictures of outer wall gardens that citizens of Rotterdam individually take care of and offer tp the public space.
At the City Art Center presents the installation City flowers of cut out prints as flowers and creates her own garden in the shape of climbing plants.
In a serie of other works details of the outer wall gardens, first names of their owners and names of the plants become all together a lace of cut out paper.
Growing care has been presented before in Athens Growing Care (Athens) and similar projects are planed during 2009 in Thessaloniki(GR) and Queretaro (MX)
Growing Care - Rotterdam
11/11 - 14/12
Rechtsachter
CBK Rotterdam
opening : 14/11
16.00 - 18.30 h
rechtsachter
URBAN GREEN
26|10|2008 - 21|12|2008
Poonberg gallery, Rotterdam (NL)
Publication 'water aan het woord'
the book - designed by Esther de Boer and edited by Simon Butter - contains stories the people of Wilnis have shared with the artists and is the source of inspiration for the definitive art piece, which will bear selected text fragments set in ceramic
ISBN 978 90 813 3771 7
‘water aan het woord’ is a collaboration piece of Elspeth Pikaar and Maria Ikonomopoulou, commissioned by the Municipality of Mijdrecht to create a monument on the spot the dyke burst 5 years ago in Wilnis and flooded a large area of the village
delivery : 11/3/2009
Flower Power
1|6|2008 -27|7|2008
Poonberg gallery, Rotterdam (NL)
group show
Art Athina 2008
22|5|2008 - 25|5|2008
Art Athina fair, Athens (GR)
Mirta Demare gallery, booth B27
kunst van de dag
Synergy
25|11|2007 - 15|1|2008
Mirta Demare, international visual art, Rotterdam (NL)
solo show
Domicilliary Tradition
4|10|2007 - 27|10|2007
CHEAP ART gallery, Athens (GR)
groep show curated by Gelly Grindaki
Emergency Room
03|9|2007 - 6|10|2007
Ileana Tounta Centre for Contemporary Art, Athens (GR)
Restart Art Athina 2007
Art Athina fair
Mirta Demare international visual art, Athens (GR)
'The Secret' in the AON collection
Het werk The Secret vorig jaar aangekocht door de AON collectie heeft een ere plaats gekregen in de Tollenaar en Wegener zaal van het kantoor op de Admiraliteitskade in Rotterdam.
Art Rotterdam fair
8|2|2007 - 12|2|2007
Rotterdam (NL)
Mirta Demare international visual art, booth 46
Museum Nagsael . 11 years
The publication contains colour photographs of all 132 exhibitions and essays by
Tanja Karreman, Marcel Moring and Ben Zegers.
Veenman Publishers, ISBN 90-8690-018-6
page 243
Self-portrait . 1997
ink, glass, acrylic,canvas, tin
A face drawn on a pane of glass that closed the passageway between the two spaces was superimposed on a painted portrait on the back wall. To make it impossible for viewers to make out the space between both portraits, a piece of perforated tin was placed behind the fish eye that reflected a distorted image of the viewer's eye.
HIGHLIGHTS cover
november - december 2006
Interview by Maria A. Aggeli
Highlights Art Magazine (GR)
You by Me
A page large intervention with the piece You by Me at the Sunday edition of the Greek newspaper 'I Kathimerini' 15/10/2006
The intervention has been realised during the show You and Me at the Ileana Tounta Centre for Contemporary Art in Athens (GR)
Art Rotterdam 2006
16|2|2006 - 20|2|2006
Art Rotterdam fair, Rotterdam (NL)
Mirta Demare international visual art, booth 2
Geef me je woord
14|9|2005 - 23|11|2005
library Afrikaanderwijk, Rotterdam
book launch and exhibition
YOU and ME
5|10|2006 - 18|11|2006
leana Tounta Center of Contemporary Art, Athens (GR)
solo show
Looking Through
3|3|2006 - 13|4|2006
Erasmus gallery, Rotterdam (NL)
solo show, curated by Coty Ampt
Handle with Care
7|9|2006 - 3|12|2006
ladenkast project, Phoebus gallery, Rotterdam (NL)
Mensbeeld
24|6|2006 - 30|7|2006
Artstore, Groot Handelsgebouw, Rotterdam (NL)
group show
Geef me je woord
8|3|2006 - 19|4|2006
Historisch Museum, Rotterdam (NL)
Panorama
9|9|2006 - 22|11|2006
State Museum of Contemporary Art, Thessaloniki (GR)
curated by Thanasis Moutsopoulos
Looking Through
20|10|2005 - 19|11|2005
Projectroom, TinT gallery, Thessaloniki (GR)
Welcome Home Laika
28|2|2006 - 19|3|2006
Alti Aylik space for contemporary art, Istanbul (TR)
curated by Sylvia Kouvalis