maria ikonomopoulou

Art Rotterdam 2006

16 - 20 februari 2006
Art Rotterdam fair
Mirta Demare international visual art?br? booth 2, Rotterdam

article by Maria Katsounaki

A very gentle mention about my solo show To-Date on my favorite newspaper by Maria Katsounaki
©photo: Anne Deschuytere
I Kathimerini

To - Date

12/9 - 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 - 27/9 11 - 5 pm
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 - 30/8/ 2020
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
Mulier Mulier gallery Knokke (BE)

Publieke Werken 2020

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

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.
lessOn 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... read more

Maria Ikonomopoulou . Anthology

8/3 - 30/6 2020
book launch and exhibition
Walgenbach art&books, Rotterdam

Kees Weeda opening speech (NL)

rf - intervew

Intervew by Linda Selena
for ram foundation

Bright Days Ahead

5/12 2019 - 31/1 2020
Commeter gallery, Hamburg (DE)

100th anniversary I Kathimerini

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

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 - 14/2
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

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

lessWe 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... read more

Fragments 2013 - 2019

3 /5 - 24/5 2019
solo show, Ubergangsweise # 8
Goethe Institute, Rotterdam

At the Beginning Was the Word

28/11 2018 - 17/1 2019
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

Proud to annonce that the edition 11/45 of our 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

A short documentary (spoken language : dutch) about the works related to crisis in Greece.
Interview : Jan Blondeel
Camera : Louk Voncken
canvas.be

Old editions of Kathimerini trasformed ...

"Old editions of Kathimerini transformed in pieces of Art and beauty" article by Margarita Pournara

I Kathimerini newspaper 14.06.2018

Unguided Tour

7/6 - 30/6 2018
Vasilis Zografos . Irini Bachlitzanaki . Maria Ikonomopoulou
Martinos gallery, Athens (GR)

Bright Days Ahead

6/12 2017 - 30/1 2018
Commeter gallery, Hamburg (DE)

Women's Methodology

8/10 - 10/12 2017
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
Mulier Mulier gallery, Knokke (BE)

Een 'carte postale' from the Greeks...

'Een carte postale from the Greeks of Rotterdam'
article by Dimitris Athinakis

I Kathimerini 1/11/2017

Rotterdam Metamorfosen

10/9 2017 - 1/1 2018
Verhalenhuis Belvedere, Rotterdam

Learning from Documenta

School Etymology

Cc Strombeek, Grimbergen(BE)

Learning from Documenta

School Etymology

S.M.A.K. Ghent (BE)

Learning from Documenta

School Etymology

BrassArt, Brussels (BE)

Be my Guest

29/9 - 6/10 217
Angeliki Douveri, Kyriaki Maurogeorgi, Maria Ikonomopoulou
curated by Vasilis Zografos
VZ studio, Thessaloniki (GR)

Bolero - station : Athens

3/7 - 9/7 2017
BachliTzanakou (Irini Bachlitzanaki & Maria Tzanakou), Despina Meimaroglou, Els Vanden Meersch, Maria Ikonomopoulou, Myrto Xanthopoulou
curated by Maria Ikonomopoulou - Els Vanden Meersch Eos gallery, Athens (GR)

School Etymology

12/8 - 16/8 2017
public intervention during Documenta 14
Friedrichsplatz, Kassel (DE)

syn[chrono]sides

7/6 2017
presentation of the artist book and panel discussion
Anastasia Mina, Maria Ikonomopoulou with Nathalie Boobis
Hellenic Centre, London (GB)

Kathimerini

12/4/17

article by Dimitris Athinakis at the newspaper I Kathimerini

The Greek Counter Example

6/4 - 12/4 2017
curated by Thanassis Moutsopoulos/Manos Stephanidis
MulierMulier gallery, Diplareios School, Athens (GR)

School Etymology

6/4 - 16/7 2017
public intervention during Documenta 14
National Museum of Contemporary Art, Athens (GR)

Such a Tender Nothingness

2/12 - 17/12 2016
curated by Angeliki Douveri
Dutch Institute of Athens (GR)

Growing Ground on Skai TV

Growing Ground, interview with Stavros Ioannidis on Skai TV (3/10/16)

Growing Ground

Camera : Despina Evgenidou
Montage : Vasilis Stavropoulos

video: Growing Ground

Hommage to NIKOS ALEXIOU

16/9 - 15/10 2016
Nikos Alexiou, Lefteris Alexiou, Maria Ikonomopoulou, Lefteris Tapas, Dimitris Tataris. Stratis Tavlaridis
CAN gallery, Athens (GR)

29th Moscow International Book Fair

Delighted to announce that syn[chrono]sides of Maria Ikonomopoulou and Anastasia Mina is part of the selection made by the Greek State Museum of Thessaloniki to be presented at the 29th Moscow International Book Fair (RUS) from the 7th to the 11th of September 2016.

Border Lines

23/6 - 30/6 2016
curated by Ivo van den Baar
De Aanschouw, Rotterdam

rho[e]mb-[asm]-i

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 -29/5 2016
Mulier Mulier gallery, booth C5
Art Athina fair, Athens (GR)

Typography as an act of art

12/4 - 20/9 2016
our artists book syn[chrono]sides is part of the show
Greek State Museum, Thessaloniki (GR)

finding Ling-Ling's head

April - September 2016
works from the Verhaegen Family Collection (Part II)
Cookie Butcher, Antwerp (BE)

syn[chrono]sides

22/12 2015 - 9/1 2016
Elika gallery, Athens (GR)

Browsing Sessions

4/10 2015

syn[chrono]sides
Het Wilde Weten, Rotterdam

Art Athina 2015

4/6 - 7 /6 2015
Art Athina fair with MulierMulier gallery, Athens (GR)

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

Cc Strombeek Grimbergen, Brussels (BE)

syn[chrono]sides

A handmade book in limited edition (45) with drawings by Anastasia Mina and Maria Ikonomopoulou, will be launched in Rotterdam on Sunday, November the 30th @ Walgenbach Art & Books.

Transformation

Christina Mitrentse, Elias Kafouros, Eva Marathaki, Giorgos Tserionis, Ino Varvariti, Maria Ikonomopoulou, Nikos Papadimitriou, Thanos Klonaris
curated by Artemis Potamianou
DEPO DARM Contemporary Art Space, Athens (GR)

a for Athens Voice

Athens Voice (GR)

ntvg Magazine

Growing Care Athens - 1 since 2012 part of the collection of the Leiden University Medical Center in Leiden, placed at the radiology department, has been used for the cover of The Dutch Magazine for Medical Science, 1/2014.

Not About Flowers

2/6 - 31/8 2014
galerie Wilms, Venlo

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 - 13/6 2014
curated by Thalia Vrachopoulos
Athens School of Fine Arts, 'Nikos Kessanlis' Exhibition Venue, Athens (GR)

O

special contribution for the Tortuca magazine #34

O - Tortuca #34

10/5 at 16.00 h
launching of the Tortuca magazine #34 at the Poetry Center, Gent (BE)
with my special contribution O

Reflections on Art and Literature

22/2 - 22/3 2014
curated by Artemis Potamianou and Thalia Vrachopoulos
Rosalux artists run space, Berlin (DE)

Rebecca Agnes, Isabel Baraona, Kostas Bassanos, Tiny Domingos, Cris Giannakos, Meg Hitchcock, Richard Humann, Maria Ikonomopoulou, Barbara Knight, Imni Lee, Renee Magnanti, Christina Mitrentse, Robert C. Morgan, Giorgos Papadatos, Nikos Papadimitriou, Artemis Potamianou

vpro radio De Avonden

een interview with Anton de Goede
vpro radio

Lecture

Sunday August 11 at the auditorium of the Coda museum in Apeldoorn, 15.00h

Lecture about the two new pieces, Wallpapers and Crisis Transformation, I made for the exhibition Coda PaperArt. Both pieces 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 during the lecture. As well as the similarities of the new installations with earlier ones and my relation with paper.

Kunstenfestival Watou 2013

Watou (BE)

Paper Art

6/10 - 27/10 2013
Coda Museum, Apeldoorn

Ms Europa 2

'City Flowers - Futura' in the collection of MS Europa 2 cruise ship next to a piece by Peter von Felbert

Meeting Greece #1

8/6 - 21/7 2013

Vlassis Caniaris, Maria Ikonomopoulou, Varvara Liakounakou, Eleni Paschalidis, Takis
curated by Guy Van Bossche
Mulier Mulier gallery, Knokke (BE)

Art Athina 2013

16/5 - 19/5
Mulier Mulier gallery, booth D5
Art Athina fair, Faliro Pavillion, Athens (GR)

Temporary / Timeless

You are very welcome to the inauguration of the floor piece Temporary / Timeless a commission for the entrance of FOM institute AMOLF's newly built home in Amsterdam, next Thursday - January 10 - at 16.00 by the director of AMOLF, Albert Polman.

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

Two pieces of the series Growing Care - Athens are now part of the LUMC collection, Leiden

Novosibirsk- Graphic Arts Triennal

The Dutch participation at the Novosibirsk Graphic Art Triennial 2012 with Caspar Hoogzaad; Saskia de Maree; Wim Konings; Raw Color; Maria Ikonomopoulou; Ellen Vomberg; Hillegon Brunt; Inez Odijk; Odine de Kroon; Anuli Croon; Margriet Thissen; Alexandra Roozen; Marilou Galdermans; Barbara Witteveen; Phoebe Maas; Inge Aanstoot; Marcha van den Hurk; Jaron Kovinus; Marie Civikov won the 1e curatorial price

Graphic Arts Triennal

the "Love Letters" are going to the Graphic Arts Triennal at the State Art Museum in Novosibirisk (RUS)

Dimensions of Paper

A group show with works by Celio Braga, Charlotte Mc Gowan-Griffin, Maria Ikonomopoulou, Lidy Jacobs, Ed Pien en Karen Sargsyan.
The piece "Growing Interweaves" is being especially realized for the show.

LUMC gallery Leiden

10 x 10

12/6 - 14/7 2012
Ten artists and ten writers
Choros Tehnis 24 gallery, Athens (GR)

Following the Thread

Margherita Dessanay reflects on the use of embroidery in contemporary art
Elephant magazine #9

Re:Rotterdam

Myths in Critical Times

Re : Rotterdam art fair

"Critical Times" 2012

embroidery on cut out financial daily news papers

70 x 100 cm

OCC (one Original Certified Copy one)

3/12/2011 - 14/1/2012

group show curated by Eleni Riga

L. Athanasopoulou, N. Alexiou, K. Antoniou, D. Baboulis, V. Gavaisse, M. Ikonomopoulou, E. Ioannou, S. Kallinikou, A. Karastergiou, Z. Keramea, T. Klonaris, T. Makris, N. Papadimitriou, M. Papamichail, V. Paspalis, T. Ploumi, V. Stylianidou, L. Tapas, D. Tataris, S. Touboura, F. Theodoridis, N. Triantaphyllou, C. Tsiota, I. Ximeri, Wersaweiss

TinT gallery, Thessaloniki (GR)
50-1 gallery, Limasol (CY)

Art Calendar Rotterdam 2012

City Fowers - Theokritos is the contribution for the page 10/2/2012

Art Calendar 2012

11/11/2011

Launch of the Art Calendar 2012 with contributions of 366 artists, phtographers and architects based in Rotterdam

Reisberichten publication

Reisberichten presentation

Tortuca # 26

image contribution to the Literature and Art Magazine Tortuca

Tortuca # 26

Drawing Stories (2)

17/5 - 16/7

Ileana Tounta Contemporary Art Center, Athens (GR)

Graphos Biennale

22/5 - 26/6

The 'Love Letters' at the Graphos Biennale
Het Kruithuis, Den Bosch

Art Athina 2011

11/5 - 15/5

Art Athina fair
Mulier Mulier gallery, booth B4 Athens (GR)

Article by Nelly Abravanel

17/4/2011

article by Nelly Abravanel at the 'Kathimerini' news paper about the exhibition Polyglossia

I Kathimerini

My page

Catalogue Polyglossia

edited by Marilena Karra, designed by A4 artdesign

Polyglossia

Onasis Cultural Center, Athens (GR)

14/3/11 - 30/6/11

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

Contribution for the Rex Magazine 4/2011

Travel Messages

The project is commissioned by the Kunstgebouw has. 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

20/12/10 - 16/01/11

group show at

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 - 10/1
Krabbedans, Eindhoven
opening Friday, December 3, at 16.00 pm

Inge Aanstoot, Maria Ikonomopoulou, Jaron Korvinus, Wim Konings, Phoebe Maas, Saskia de Maree, Raw Color en 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.

Groot Grafiek

13/11 - 6/12

City Art Center, Rotterdam

opening Sunday, November 21, at 16.00 pm

Inge Aanstoot, Maria Ikonomopoulou, Jaron Korvinus, Wim Konings, Phoebe Maas, Saskia de Maree, Raw Color en 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 - 7/11

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

City Art Center Rotterdam

Allure of the Seas

Allure of the Seas

Taseis Figis - Escapism

27/9 /10 - 23/10/10

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

19/9/10 - 7/11/10

NEW UNTITLED gallery, Venlo

House & Garden Magazine

'Techni ipo Skian' article by Dora Christidou, House & Garden Magazine (GR)

Sinopale 3

7/9 - 14/9

'Hidden Memories, Lost Traces' Sinop Art Biennial, Sinop (TR)

Maria Ikonomopoulou - Raf Thys

19/6/2010 - 17/7/2010
VAN DEN BERGE hedendaagse kunst, Goes (NL)

Spice Lamp . 2010

Private commission for a lamp at the house of a professional cook in Rotterdam

Names of spices for cooking can be read during a dinner on the inside of the lamp

# 15 100 x 100

4/6 - 6/6

Zwervende Tentoonstellingen

Koetshuis, Rotterdam

Art Athina fair, with Mirta Demare gallery

In-scribe

Catalogue on the occasion of the exhibition 'In-scribe' at the galleries of the American Union from february 3 through march 9, 2010, curated by Iris Kritikou.

Expanded Drawing

8/4 - 5/6

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 - 25/3 2010

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

Mulier Muliergallery, Knokke (BE)

In-scribe

3/2 - 9/3

curated by Iris Kritikou

Hellenic American Union, Athens (GR)

Agrafiotis Demosthenes, Apostolidou Katerina, Argianas Athanasios, Bournias Yannis, Chalyvopoulou Efi, Chryssa, Fanouraki Lina, Fexis Filippos, Geka Penny, Gonou Eirini, Hatziargyrou Ersi, Karageorgi Tina, Karagianni Eleni, Keramea Zoe, Ikonomopoulou Maria, Papadimitriou Elena, Papadopoulos Giannis, Papanikolopoulou Magdalini, Pentzikis Nikos-Gavriil, Psychopedis Giannis, Skourogiannis Dimitris, Spiliopoulos Marios, Tserionis Giorgos, Valaoritis Nanos, Vetta Nana, Xenakis Konstantinos, Xenos Giorgos, Xenou Vana, Xonoglou Dimitris, Zervas Stamatis, Ziogas Giannis, Zouroudis Dimitris

www.yatzer.com

15/12/09

interview by Apostolos Mitsios at the brillant site yatzer

©photo : Odysseas Lekkas

Intimate Distances

5/11 - 31/12

curated by Christina Petrinou

Martinos antique & art gallery, Athens (GR)

©photo Odysseas Lekkas

What is making?

Symposium in the frame of the textile weekend, Tilburg

Gamma Epsilon Delta

22/10 - 28/11 2009
curated by Els Hanappe
Tint gallery, Thessaloniki (GR)

Let a Thousand Flowers Bloom

The piece has been installed at his definitive location, the main hall of the new building of two primary schools
Wereld op Zuid, Schere 39, Rotterdam

Seasons Magazine

'Griekse Zonnesteek' artikel by Margriet de Groot (page 15,16 )

Lychnari

'Water aan het woord'
article by Wim Oudshoorn
Lychnari Magazine (3/2009)

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

National Museum of Contemporary Art

Growing Interests at Expanded Ecologies

National Museum of Contemporary Art

Expanded Ecologies

Perspectives in a Time of Emergency
curated by Daphne Vitali

11/06 -04/10 2009
National Museum of Contemporary Art, Athens (GR)

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

'let a thousand flowers bloom' is in the final phase and almost ready to deliver

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 - 11/01 2009
Museo de la Ciudad, Queretaro (MX)

Mexico

29/11 - 23/12

residency in Queretaro, invited by the Universidad Autonoma de Queretaro for a 10 day's visiting lectures at the Art department

http://trendbeheer.com/2008/12/14/queretaro-mexico

Source-Threads of origins passing into the present

28/11 - 11/01
Fatima Barznge, Isabel Ferrand, Maria Ikonomopoulou
Mirta Demare gallery, Rotterdam

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 - 21/12 2008
Poonberg gallery, Rotterdam

Let a thousand flowers bloom

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

Art Athina 2008

22/5 - 25/5
Art Athina fair
Mirta Demare gallery, booth B27

kunst van de dag

Synergy

25/11 2007 - 15/1 2008
solo show
Mirta Demare, international visual art, Rotterdam

Domicilliary Tradition

4/10 - 27/10 2007
curated by Gelly Grindaki
CHEAP ART, Athens (GR)

Emergency Room

03/9 - 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 2007

8/2 - 12/2 2007
Mirta Demare international visual art
booth 46, Rotterdam

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.