East Beat

Tania Varveri, Nikos Varytimiadis, Charis Vlachos, Marina Velisioti, Sotiris Vougiazis, Tasos Vrettos, Iria Vrettos, Anthi Drillia, Dimitra Zervou, Dimitris Ioannou, Dionysis Kavallieratos, Vassilis Karouk, Andreas Kassapis, Marilia Kolymbiri, Angela Liosi, Irini Miga, Markella Xylogiannopoulou, Dora Economou, Nicole Economidou, Stephanie Horati, Styliani Papadodδημα, Melia Papadopoulou, Eva Papamargarriti, Panos Profitis, Valinia Svoronou, Ariadne Strofulla, Angelos. Akrida [Schizas], Philip Telesto, George Turlas, Eleni Tomadaki, Christos Chantzis.

Curated by Nadja Argyropoulou, Lakis & Aris Ionas / The Callas

06.05.2024

Thermisia, Argolis

G. & A. Mamidakis Foundation Prize 2024

Irini Miga 

Recipient of the 2024 G. & A. Mamidakis Foundation Art Prize for the work Landscape in Motion.

A site-responsive artwork which combines painterly and sculptural elements, portraying an ever-evolving landscape. Inspired by the twirling motion of a leaf in the air, it brings attention to the endangered and rare flora of Crete, encouraging a collective awareness for their preservation.

Through the joyful gesture of tossing confetti, an almost cosmic explosion unfolds Amidst the chaos and while the clock is ticking, scattered letters hint at the word ‘Permanence,’ symbolizing the ungraspable concept of time. This work, made also from delicate, handmade ceramic confetti, serves as a reminder of time painstakingly preserved through an ancient, enduring craft.

Positioned in a corner, the artwork tilts clockwise, representing changes in the tilt of Earth’s axis caused by the environmental crisis. The melting of ice sheets and glaciers, the extraction and overuse of groundwater, are altering our planet’s weight, rotation axis and equilibrium, and this is emphasized here by the work’s position.

Outraged by Pleasure

Curated by Nadja Argyropoulou

and shared by the following artists, art entities, curators: 

Antoinetta Angelidi, Patricia Apergi & Aerites Dance Company, Tosh Basco, The Callas (Lakis Ionas & Aris Ionas), Daglara, Sofia Dona, Navine G. Dossos with James Bridle, Georgia Fambris, Family Business, iLiana Fokianaki (with Danae Io, Harun Farocki, Mary Zygouri), FYTA, Ιoanna Gerakidi (with Yianna Charachlianni, Leah Clements, Anna Savvatopoulou), Pinelopi Gerasimou, Hypercomf, Dimitris Ioannou, Xenia Kalpaktsoglou with [Pegy Zali, Sofoklis Koutsourelis, Panagiotis Lianos], Athina Koumparouli, Lito Kattou, Dionisis Kavallieratos, Blaise Kirschner, Katerina Komianou, Konstantinos Ladianos, LALA, Kostas Lambridis, Iris Lykourioti, Irini Miga, Rashaad Newsome, Nionia Films (Maria F. Dolores, Sofia Dona, Alkisti Efthymiou, Smaro Papaevangelou), Malvina Panagiotidi, Aggelos Papadimitriou, Eva Papamargariti, Agnieszka Polska, Filipa Ramos, Teos Romvos & Chara Pelekanou, Kostas Sfikas, Gabriella Simossi, Panos Sklavenitis, Kostis Stafylakis & Theo Triantafyllidis, Nancy Stamatopoulou (with Nicoleta Chatzopoulou, Makis Faros, Tassos Vrettos), Eva Stefani, Valinia Svoronou, Temporary Academy of Arts, Eleni Tomadaki, Thanassis Totsikas, Antigoni Tsagkaropoulou / Bunny, VASKOS (Vassilis Noulas & Kostas Tzimoulis), Marina Velisioti, Nikos Velmos, Hypatia Vourloumis (with Jackie Abhulimen, Eleni Ikoniadou, Maria Sideri, Taka Taka), Iria Vrettou, Rea Walldén, Marie Wilson-Valaoritis (with Zoe Valaoritis & Katerina Valaoritis) 

29.09 – 12.11.2023

“Nobel” building – cultural space in the City of Chalandri, 

Athens, Greece

Avarna Fluida

Stella Christofi, Dionysis Christofilogiannis, Martha Dimitropoulou, Errands, Giannis Grigoriadis, Giorgos Gyparakis, Antonis Kanellos Georgia Kotretsos, Konstantinos Kotsis, Irini Miga, Kostis Velonis, Theodoros Zafeiropoulos.

Curated by Stella Christofi

15.10-28.10.2023

Contemporary Art Exhibition at 

Niocastro (built in 1573,) Pylos

Messinia, Greece

22 notes is a work that weaves intricate connections, paying homage to the art of improvisation within the framework of an annual calendar.

Drawing inspiration from the composition “Das Jahr (The Year)” by Fanny Mendelssohn, a composer from the Romantic Era, and personal handwritten notes crafted during the year 2022, this piece emerges as a unique embodiment of a bygone year. Each one of the twelve months is represented through fragments of the musical score. Seven handwritten notes, honouring each day of a week, are either interwoven within the musical score or scattered throughout the composition, taking the form of delicate paper spheres.

Graceful small, and large dynamic painterly gestures are composing a landscape in movement that brings together, as a symphony in motion, of all the constituent components. Sculptural pieces such as glazed ceramics, wooden and brass bars, engage in harmonious conversations with painterly and drawing elements of this mural.

Ripples in time and moments of silence make this work a terrain for a new system that is trying to organise and record time’s elusive nature.

FOUNTAINHEAD BIENNIAL II: Last Days of a House

Andrés Aizicovich, Rodrigue Mouchez Armendariz, Patricia Ayres, Merav Kamel & Halil Balabin, Minia Biabiany, Miguel Braceli, Héctor Jiménez Castillo, Adama Delphine Fawundu, Cathy Hsiao, Karlo Andrei Ibarra, Manoela Medeiros, Irini Miga, Terrence Musekiwa, Mano Penalva, Umar Rashid, Crack Rodríguez, Máret Ánne Sara, Joaquín Segura, and Andrey Gûaîanã Zignnatto

Curated by Omar López-Chahoud

07.27 -09.30, 2023

Emerson Dorsch Gallery
5900 NW 2nd Avenue
Miami, FL 33127
United States

Irini Miga: Guest Curator at Foundwork.art

As a guest curator, Miga chose three artists (and artist duos) on Foundwork platform whose work particularly resonated with her: Emma Schwartz, Cici Wu, and Latent Community.

See her curatorial remarks on their practices here

A Scattering of Salts 

Yannis Bouteas, James Bridle, Eleni Christodoulou, Nicole Economides, Evangelia Fouseki, Ioanna Gouma, Nikos Hadjikyriakos-Gkikas, Rowena Hughes, Theo Hios, Astrid Kokka, Bety Krňanská, Jack McConville, Irini Miga, Michael Michaelides, Raffaela Naldi Rossano, Kosmas Nikolaou, Aemilia Papaphilippou, Pavlos Nikolakopoulos, Malvina Panagiotidi, Rallou Panagiotou, Cezary Poniatowski, Chrysanne Stathacos, Takis, Lina Zedig 

Performances by: Konstantina Barkouli, Ermira Goro 

curated by Panos Giannikopoulos

27.05 – 28.06.2023

ACG Art Gallery

Deree – The American College of Greece 

6 Gravias Str

Athens, Greece

In my live-work space, I look at the straight-line indentations that divide the concrete floor in perfect rectangular shapes. Within those lines, I place scissors with engraved words on their blades.  The words included on them are taken from cartography books and survey manuals; the oldest of which is from the Land Ordinance of 1785 about the US rectangular system of surveys. Phrases like “chisel linearity,” “boundary establishment,” “land subdivision,” and “zenith angle,” appear on those blades. Institutionalized lines are dividing states, countries, and land in general. Cartographers use words and lines to break up physical spaces throughout the globe; these words are often the result of soldiers enforcing these boundaries. The installation space is filled with a sound that resembles the sound of scissors cutting coarse paper coming out from the desk. Up close, it is the sound of soldiers marching. As a promise for renewal, in front of the scissors, I mend the gaps with clay.

Location: Bemis Art Center for Contemporary Arts

Click HERE for the Installation video

Can a song exist when nobody can listen to it? A music score of feelings, personal notes, compressed time and space must be one of those. That’s a song for my father. He is the one who taught me that everything is possible. I love/ed and admire/ed him tremendously. I miss him immensely.

My father loved singing. This music score is a personal take on one of his favourite songs; with my own notes for him. 

For the score of this song I used images and maps from four different places that my father lived:

• Avdella, the village of Pindos where he was born (map on top left) – We are proud Vlachs with our own idiomatic language.
• Tyrnavos, where he grew up (landscape on the left)
• Athens, where he lived during his teens and early adulthood for few years (map on the bottom right of right page)
• Larisa, where he lived most of his life (central landscape with the point touching the sun at his shop with beautiful fabrics from all over the world)

My father, Ioannis Migas, was born in Avdella Grevenon on January 7, 1944, and died in Larissa on May 22, 2022, because of a heart attack; after several years of problems in his warm and sensitive heart. He lived his life to the fullest and I was always looking up to him as the most charismatic person I knew growing up. 

He was a constant source of inspiration for me and we mutually loved and admired each other.  He was the best father I could ever have. He loved his/our family and always did everything he could in order to make everyone happy. His big loves were his/our family, his shop with fabrics, and soccer. He was a super talented soccer player, an amazing salesman and businessman, and the most beautifully dressed person I knew – most of his clothes were tailor made with amazing fabrics. He loved wearing hats, vests and beautiful coats for winter and for summer white or colorful shirts. A self-made, super smart, authentic personality who always liked to make people laugh and was ready to help with any means he could to anyone in need.

Growing up in my father’s shop in Larissa, the designs and textures of the beautiful fabrics were my first and most vivid introduction to art and design —I wasn’t exposed to any contemporary art until I was 19 years old. I remember walking with him in the center of Larissa and people stopping to talk with him. He was so popular that when he died the local newspaper put him on the cover with an article about his life in the section of Sports – the years that my father was involved as a scouter in the local team AEL the team was doing great and they won the National Championship.

I could write a book about my father’s life. 

For now, I made this piece.

Rest in Peace my beloved father.

Dictionary Stories

is now included in MoMA’s special collection of artists’ books entitled the Museum of Modern Art / Franklin Furnace / Artists’ Books Collection

“Dictionary Stories” is a collection of 13 stories that are crafted exclusively by using sample sentences and illustrations sourced from dictionaries worldwide. 

Stories by: John Batten, Jonathan Burt, Justin Cooper, Karishma D’Souza, Bruno Dias, Adèle Eisenstein, Pedro Lagoa, Irini Miga, Chiara Picotto, Maria Tsagkari, João Vasco Paiva, Anna Rebecca Unterholzner, and Elaine Young.

Concept & curation mAgdalen Wong 

edited and published by mAgdalen Wong 

We tell ourselves stories in order to live

Eva Anerrapsi, Maria F Dolores, Anastasia Douka, Dora Economou, Selma Köran, Irini Miga, Rallou Panagiotou, Nina Papaconstantinou, Natasha Papadopoulou, Nana Sachini, Georgia Sagri, Beate Scheder, Sofia Touboura, Marina Velisioti, Kyveli Zoi and 1992 (Ioanna Mitza & Pegy Zali)

Codependent curatorial by Xenia Kalpaktsoglou and Olympia Tzortzi

17 February – 11 March 2023

Callirrhoë

Kallirrois 122, Athens, Greece

A handmade ceramic tree grows on the surface of an otherwise empty notebook. The fruit that it bears is a pencil which grows smoothly through a thread and touches with its tip-point the surface of the notebook. Depending on the season, and the flow of the air in the space that it is placed, this work can flourish or remain idle. The wind dictates the choreography, the pencil dances and the notebook starts to fill.

This work is based on the string games we used to play as children. These games have now been superseded by the dominance of computer games. The web weaves almost imperceptibly in the space. I created  this work at a time when the actual time seemed to have stopped (lockdown) by thinking of creative ways to use it, making the game itself speak to the passage of it and its seemingly stasis. I have multiple pairs of these handmade ceramic hands that can weave a web together along with the architecture of the building, bringing to mind webs of communication and solidarity.

Daily Lazy

Irini Miga interviews Jonathan Ehrenberg

Daily Lazy

Irini Miga interviews Sultana Savvi

Volcanic Sensorium

Irini Miga

curated by Nadja Argyropoulou

commissioned works for noūs

15.07.2022  (opening)

noūs santorini 

Santorini, Greece

Froth on the Daydream (L’Écume des Jours)

Dimosthenis Avramidis, Christos Athanasiadis, Alexis Akrithakis, Chloe Akrithaki, Eugenia Apostolou, Kostis Velonis, Alexis Verucas, Martha Dimitropoulou, Athina Ioannou, Lizzie Calligas, Aikaterini Kanakakis, Apostolos Karakatsanis, Nicomachi Karakostanoglou, Pegy Kliafa, Harrie Kourkoulis, Vasiliki Lefkaditi, Marianna Lourba, Kleopatra Moursela, Liana Markaki, Irini Miga, Christos Bouronikos, Nikos Papadopoulos, Ilias Papailiakis, Alexios Papazacharias, Hara Piperidou, Lila Polenaki, Dimitris Rentoumis, Georgia Sagri, Evie Samara, Nana Sachini, Kostas Sahpazis, Giorgos Stamatakis, Magda Tammam, Tolis Tatolas, Philippos Tsitsopoulos, Kostas Tsolis, Efi Chaliori, Mantalina Psoma, Capten, Paolo Colombo

curated by Chloe Akrithaki

19.04 – 21.05.22

Gallery 7

Athens, Greece

Daily Lazy

Irini Miga interviews Corinne Spencer about her practice and upcoming Solo Show at Hartnett Gallery at the University of Rochester (Rochester, NY).

Chloe and Irini*  [GR: Χλόη & Ειρήνη]

On a weekly basis, I collect flowers from a local flower shop named “Works of Nature” [GR:Έργα Φύσης], and bring them to the gallery for the exhibition.

Through the eerie, melodic voice of Flery Dandonaki Chloe and Irini sing to each other: 

• Λίγα λουλούδια αν θέλεις στείλε μου και πάλι φίλε μου, απόψε. 
• Λουλούδια ο κόσμος πλημμύρισε, έλα και μύρισε, έλα και κόψε. 

Lyrics:

– Would you be so kind as to send me some flowers again tonight, my friend? 

– Come and take a whiff of the world, overflowing with flowers, and feel free to pick them as well.

Shown at:

“L’écume des jours” Ο Αφρος Των Ημερων

An exhibition filled with the aroma of flowers, friendship, love and hope.

Flowers and friendships, like most things in life, need care and love in order to flourish.

*The names Chloe and Irini have a direct translation from Greek, which means “Grass” and “Peace” respectively.

–

Excerpt from the press release:

In Boris Vian’s “Froth on the Daydream (L’Écume des jours)” a lily grows in the lung of the heroine, the doctor recommends that the patient surround herself with flowers. Flowers are both medicine and poison. The walls are rounded. The room narrows. The world around us grows dangerously small.

Once again the sound of war approaches us.

The exhibition “L’Écume des jours (Ο Αφρος Των Ημερων)  presents works by 40 contemporary Greek artists, with themes around the flower. We have all painted flowers since our childhood. All artists have at some point dealt with the theme of the flower, tracing its symbolism or simply capturing its beauty. Some works were pre-existing, some were adapted, and many were created for this exhibition. Thus all the works in the exhibition are “flowers from my friends “*, where not only the multifaceted symbolism of flowers is important, but also the significance of the gesture itself. Works as diverse as their creators.

The result, an imaginary garden in bloom from April 19 to May 21 at Gallery 7.

*In 1990 Alexis Akrithakis exhibited “Flowers for his suicidal friends” at Gallery 7.

-Chloe Alrithaki

Chloe and Irini*  [GR: Χλόη & Ειρήνη]

On a weekly basis, I collect flowers from a local flower shop named “Works of Nature” [GR:Έργα Φύσης], and bring them to the gallery for the exhibition.

Through the eerie, melodic voice of Flery Dandonaki Chloe and Irini sing to each other: 

• Λίγα λουλούδια αν θέλεις στείλε μου και πάλι φίλε μου, απόψε. 
• Λουλούδια ο κόσμος πλημμύρισε, έλα και μύρισε, έλα και κόψε. 

Lyrics:

– Would you be so kind as to send me some flowers again tonight, my friend? 

– Come and take a whiff of the world, overflowing with flowers, and feel free to pick them as well.

Shown at:

“L’écume des jours” Ο Αφρος Των Ημερων

An exhibition filled with the aroma of flowers, friendship, love and hope.

Flowers and friendships, like most things in life, need care and love in order to flourish.

*The names Chloe and Irini have a direct translation from Greek, which means “Grass” and “Peace” respectively.

–

Excerpt from the press release:

In Boris Vian’s “Froth on the Daydream (L’Écume des jours)” a lily grows in the lung of the heroine, the doctor recommends that the patient surround herself with flowers. Flowers are both medicine and poison. The walls are rounded. The room narrows. The world around us grows dangerously small.

Once again the sound of war approaches us.

The exhibition “L’Écume des jours (Ο Αφρος Των Ημερων)  presents works by 40 contemporary Greek artists, with themes around the flower. We have all painted flowers since our childhood. All artists have at some point dealt with the theme of the flower, tracing its symbolism or simply capturing its beauty. Some works were pre-existing, some were adapted, and many were created for this exhibition. Thus all the works in the exhibition are “flowers from my friends “*, where not only the multifaceted symbolism of flowers is important, but also the significance of the gesture itself. Works as diverse as their creators.

The result, an imaginary garden in bloom from April 19 to May 21, 2022, at Gallery 7, in Athens.

*In 1990 Alexis Akrithakis exhibited “Flowers for his suicidal friends” at Gallery 7.

-Chloe Alrithaki

My work is a small piece of paper, on the floor, with the word courage (κουράγιο) written on it. Courage is on the floor, waiting to be gifted to anyone who needs it. There, it is possible that it will be stepped on, by mistake (or not,) crumpled, and even worse thrown away as something worthless. Unfortunately, it will not be accessible to those unable to search for it. I have created a lot of courage — enough for the whole duration of this exhibition. If during the day —when the exhibition is open to the public— the courage remains intact, it continues to stay at the same spot for the next day.  If it is steeped on and crumpled it will be picked it up by the gallery stuff, at the end of the day, and placed in a box where all the courages that have been pressed out of shape will be collected. The next day begins with a new courage, in a different area of the exhibition space.This will continue until all the courage belongs to those who need it and those courages who have endured the pressure of the days are placed in a single frame. This will be the final work.

Going Viral

Ileana Arnaoutou, Sofia Dona, Maro Fasouli, Kyriaki Goni, Anestis Ioannou, Andreas Ragnar Kassapis, Panos Kompis, Latent Community (SNF ARTWORKS Fellows Jonian Bisai & Sotiris Tsigkanos), Maria Louizou, Collectif MASI (SNF ARTWORKS Fellow Madlen Anipsitaki & Simon Riedler), Irini Miga, Stefania Strouza, Maria Tsagkari, Ersi Varveri

Curated by Sotirios Bahtsetzis and Katja Ehrhardt

January 21 – March 3, 2022

In collaboration with: ARTWORKS, STEINZEIT Gallery Berlin, FREIRAUM in der Box Berlin
Donors: Stavros Niarchos Foundation (SNF), Schwarz Foundation, Griechische Kulturstiftung Zweigstelle Berlin, Hellenic Foundation for Culture
Under the Patronage of: Botschaft der hellenischen republik in deutschland

STEINZEIT Galerie Berlin

Kottbusser Str. 11, 

10999 Berlin

An enlarged abstraction of a Labyrinth marble maze sits on a corner in a precarious balance. Impossible to be played, this pastime activity game shuffles through the pages of Marcel Proust’s “In Search of Lost Time” Volume VII (Time Regained.) During the challenging period of lockdown, its glass marble ball is holding it up testing a game that is meant to teach patience and balance.

An enlarged abstraction of a Labyrinth marble maze sits on a corner in a precarious balance. Impossible to be played, this pastime activity game shuffles through the pages of Marcel Proust’s “In Search of Lost Time” Volume VII (Time Regained.) During the challenging period of lockdown, its glass marble ball is holding it up testing a game that is meant to teach patience and balance.

Within my studio, I gaze out of the window the sunrise at the industrial neighborhood at 7:37 am and take a snapshot. In the blink of an eye, 23 hours and 59 minutes pass, just one minute short of a full day, I am on the same spot looking out the window once again. Between these two flashes, how much has happened, how much has been left unsaid? I take one more picture of the ending moment of that day – the moment that connects that day to the next. What has left unspoken, hangs on a ceramic, handmade mechanism that elegantly lifts with a chain an industrial-like ceramic hook where an image that is rolled captures on its front and back those two moments.

Cc

Antonakis, Alexandros Simopoulos, Dionisis Christofilogiannis, Nicomachi Karakostanoglou, Theodoros Giannakis, Petros Moris, Vassilis H. Jannis Varelas, Anna Lascari, Kostas Sahpazis, Panayiotis Loukas, Vassilis P. Karouk, Jack McConville, Quinn Latimer, Irini Miga, Eugenia Vereli, Charlotte Nieuwenhuys, Elena Demetria Chantzis, Panos Papadopoulos, Marilia Kolibiri, Nana Sachini, Margarita Bofiliou, Sofia Stevi, Kyvèli Zoi, Stefania Strouza, Ino Varvariti, Valinia Svoronou, Katerina Komianou, Alexandros Tzannis, Spiros Kokkonis, Giorgos Tserionis, Anestis Ioannou, Vaskos (Vassilis Noulas, Kostas Tzimoulis,) Nina Papaconstantinou, Nikolas Ventourakis, Natalia Papadopoulou, Amalia Vekri, Erica Scourti, Mary Zygouri, Nadia Kalara and 3137 (Chrysanthi Koumianaki, Kosmas Nikolaou, Paky Vlassopoulou,) Eleni Bagaki, Alexia Karavela, Karolina Krasouli

09.12. 2021 – 30.12.2021

Callirrhoë 

Kallirrois 122, 

Athens, 117 41 Greece 

Performative Transcending Somatic Dinner

Andreas Angelidakis, Eleni Bagaki, Savvas Christodoulides, Evi Kalogiropoulou, Katerina Komianou, Eva Papamargariti, Olga Miliaresi-Phoca, Maria Papadimitriou, Panos Papadopoulos, Vasilis Papageorgiou, Dionysis Kavallieratos, Irini Miga, Angelo Plessaas, Georgia Sagri, Socratis Socratous, Eva Stefani, Sofia Stevi, Valinia Svoronou, Thanasis Totsikas, Amalia Vekri, Evgenia Vereli

curated by: Lydia Antoniou and George Bekirakis

with the kind support of NEON Organization

03.11. 2021 – 12.12.2021

Korinis 4, Athens

Thinking about cosmology and human creation, I look at the work of William Blake “The Ancient of the Days.”  There, the word “Ancient” indicates that God existed before time began; literally, “before days were.” In Blake’s work, God is crouching in a circular form. His outstretched hand holds a golden compass over the darker void below creating the world. Having in mind the known certainty that I come from a woman; I create a compass-like shape with brass, which is the exact angle between my left pointer finger and thumb. I carve out of clay the distance between those two fingers – the length of which is 19.3 cm. – and embed it in a drywall piece nested in a notebook. This is my private footprint, a minute womb of creation that fills an otherwise empty notebook.

The Art Newspaper Greece

Spring Works, Summer Shows

Review by Alexandra Koroxenindi

Re:

Spring Works, Summer Shows

with: Irini Miga, Kostas Sahpazis, Erica Scourti, Paky Vlassopoulou

June 17- September 15, 2021

Haus N Athen

Athens, Greece

Daily Lazy

Irini Miga Interviews Melanie McLain

Melanie McLain’s “Peripersonal” installation that was part of OTRXS MUNDXS (Curators: Humberto Moro and Andrés Valtierra with the assistance of Regina Elías) in Museo Tamayo in Mexico City, 

&

Her Solo Show, “Unchoreoraphic  Sculptures,” at La Cresta in collaboration with Colector in Monterrey, Mexico. 

In Slit

curated by: Hara Piperidou

01.07 – 04.07.2021

Back to Athens 8
International Arts Festival

Athens, Greece

Spring Works, Summer Shows

Irini Miga, Kostas Sahpazis, Erica Scourti, Paky Vlassopoulou

17.06. – 31.07.2021

Haus N Athen
Athens, Greece

Prizing Eccentric Talents

Andreas Angelidakis, Danai Anesiadou, Eleni Bagaki, Despina Charitonidi, Savvas Christodoulides, Manolis Daskalakis-Lemos, Theodoros Giannakis, Katerina Komianou, Irini Miga, Maria Papadimitriou, Rena Papaspyrou, Panos Profitis, Socratis Socratous, Amalia Vekri.

curated by: Georgo Bekirakis and Angelo Plessas

09.06.2021 – 31.07.2021

P. E. T. Projects
Athens, Greece

Photo: © Chloe Akrithaki

Date: March 19, 2021

Irini Miga photographed by Chloe Akrithaki (#studiovisit) at Haus N Athen while being there as an artist in residence.

by Irini Miga

Opening: Wednesday, March 4, 6:00-9:00 pm.

Duration: March 4 – 8, 2020

at:

Flyweight

25 Kent Ave

Brooklyn, NY 11249

(entrance at the corner of N12th St & Wythe Ave)

For Flyweight miniature project space Irini Miga presents An Interval, a scaled-down exhibition scene caught in an ambiguous process of making or unmaking. Composed of utilitarian objects such as a ladder, a nail, and a hammer, Miga imagines this intimate gallery in a moment of pause offering the viewer a space for contemplation. The otherwise empty room is filled with the sound of a love piece – “Requiem” –  a 1791 commissioned composition written by Wolfgang Amadeus Mozart to commemorate a death, and a piece that remained unfinished due to the composer’s death.

An Interval will be on view in New York for a few days; a duration parallel to numerous art fairs bringing together countless local and international galleries showcasing artworks from around the world this period each year — even when there is an outbreak of a pandemic.

About Flyweight:

Flyweight is a 1:12 scale exhibition space for miniature solo projects organized by artists Clare Torina and Jesse Cesario. The mobile version of the gallery, presented here, moves around the city in collaboration with other galleries, curators, and collectors.

https://flyweight.nyc

Irini Miga: Artist-in-residence at Haus N Athen for the period Feb-March 2021.

For the first months of 2021 Haus N is launching a residency program for Athens based artists, in an effort to activate the space during these difficult months and form a dialogue between the local art community.

Irini Miga: ARTWORKS Fellow 2020-21

ARTWORKS is a nonprofit organization that aims to create a fertile and nurturing environment for Greek artists through funding and public engagement opportunities.

ARTWORKS was founded in 2017 and is supported by its founding donor, the Stavros Niarchos Foundation.

YouTube Preview: Mr. Robinson Crusoe Stayed Home

O κύριος Ροβινσώνας Κρούσος έμεινε σπίτι

curated by: Polina Kosmadaki and Kostis Velonis

 25.02 – 09.05.2021

Benaki Museum
Athens, Greece

with:

Vanessa Anastasopoulou, Maria Antelman, Margarita Bofiliou, Martha Dimitropoulou, Anastasia Douka, Petros Efstathiadis, Zoi Gaitanidou, Maria Georgoula, Giorgos Gyparakis, Hope, Dionisis Kavallieratos, Ilias Koen, Zissis Kotionis, Virginia Mastrogiannaki, Irini Miga, Maro Michalakakos, Oryo, Malvina Panagiotidi, Aliki Panagiotopoulou, Maria Papadimitriou, Nina Papaconstantinou, Eva Papamargariti, Antonis Pittas, Alexandros Psychoulis, Yorgos Sapountzis, Nana Sachini, Kostas Sahpazis, Stefania Strouza, Alexandros Tzannis, Thanassis Totsikas, Nikos Tranos, Panos Tsagaris, Giorgos Tserionis, Jannis Varelas, Alexandros Vasmoulakis, Eugenia Vereli, Paky Vlassopoulou, Α Whale’s Architects, Theodoros Zafeiropoulos

https://irinimiga.com/wp-content/uploads/2021/03/deb45d333d0414ba3de42155789fdb4a.jpg

Daily Lazy

Irini Miga interviews Ionian Bisai and Sotiris Tsiganos (Latent Community) about their film Otranto.

Daily Lazy

A conversation between Krista Clark and Irini Miga triggered by “Untenanted,” 

an exhibition by Krista Clark at Spencer Brownstone Gallery in New York.

Krista Clark: Untenanted

September 13 – November 17, 2019

Spencer Brownstone Gallery

170-A Suffolk Street

New York, NY 10002

2:56

It is 2:56 am, and he still has trouble sleeping.

He turns the light on and picks up the book that lies by his nightstand.

He opens it to page 56.

He always believed that accidents are somehow destiny in disguise.

The question of the previous day still twirls in his head.

He stands up and walks towards the fridge.

He realizes that the distance from his bed to the fridge is 28 steps – that equals 56 steps from his bed to the fridge and back.

Coincidence?

He always worked too much. So much that he never had time to think of himself as a distinct entity.

Yesterday, the girl at the gas station asked him if he is free on Friday.

Free on Friday?

Today is Wednesday, which is two days away from Friday.

If he could be with the girl in bed that would make it one + one = two.

He looks again at the clock that sits on top of his nightstand.

The time is 2:56 am.

Still.

That is what he does when he has time.

– Irini Miga

Text as Press Release for the Show Leisure as a Mechanism for Resistance. 

Daily Lazy at Parallel Vienna, 2016

In a light-handed intervention, one encounters the impression of a single fingerprint sunken into the wall. Made from unglazed ceramic and seamlessly fitted into the wall’s surface, the remaining mark is barely perceptible from a distance of more than a few feet. It is the record of a motion–of pointing to, pointing at, pointing out–but the object of the pointing is noticeably absent. It is simply the gesture that persists in memorial of an understated action.

Mr. Robinson Crusoe Stayed Home

Vanessa Anastasopoulou, Maria Antelman, Margarita Bofiliou, Martha Dimitropoulou, Anastasia Douka, Petros Efstathiadis, Zoi Gaitanidou, Maria Georgoula, Giorgos Gyparakis, Hope, Dionisis Kavallieratos, Ilias Koen, Zissis Kotionis, Virginia Mastrogiannaki, Irini Miga, Maro Michalakakos, Oryo, Malvina Panagiotidi, Aliki Panagiotopoulou, Maria Papadimitriou, Nina Papaconstantinou, Eva Papamargariti, Antonis Pittas, Alexandros Psychoulis, Yorgos Sapountzis, Nana Sachini, Kostas Sahpazis, Stefania Strouza, Alexandros Tzannis, Thanassis Totsikas, Nikos Tranos, Panos Tsagaris, Giorgos Tserionis, Jannis Varelas, Alexandros Vasmoulakis, Eugenia Vereli, Paky Vlassopoulou, Α Whale’s Architects, Theodoros Zafeiropoulos

curated by: Polina Kosmadaki and Kostis Velonis

25.02 – 09.05.2021

Benaki Museum
Athens, Greece

ESSEX FLOWERS
19 Monroe St New York, NY 10002
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Solo Show

Irini Miga

January 05 – February 03, 2019

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Away is Another Way of Saying Here presents recent ceramic and sound works by Irini Miga. Through subtle material interventions, Miga plays with the perceptual space between artwork and viewer, considering the threshold at which an object or gesture demands attention.

In Notes on Origin, Miga replicated marine debris found on the Miami shoreline in hand-sculpted clay and installed the pieces on the gallery wall in formation of the celestial constellation Orion. In a material disjuncture between plastic waste and hand-crafted earthenware, she cites the cautionary tale of the giant hunter in Greek mythology, who was slain by Gaia after claiming he would kill every animal on the planet. Miga draws a connection between the physical origin of the marine debris, Miami–a city predicted to be under water in less than 100 years due to climate change–to the mythological origins of Orion, whose arrogance towards other life forms ultimately caused his own demise. An adjacent sound work emanates from the closet within the gallery space, an area typically designated to store things out of sight. Referencing white noise machines that some use to meditate or fall asleep, the sound recording is also collected from the Miami shoreline. Ocean sounds are layered with human-made noises, suggesting that the ocean is no longer a refuge from human impact, as the waters fill with plastic waste.

Another series appears inconspicuously around the space of the gallery, taking form as an assortment of cleaning tools made of meticulously sculpted ceramics and brass. This series captures the often invisible and repetitive labor of cleaning, putting on display what might otherwise be tucked away in the storage closet. In a final light-handed intervention, one encounters the impression of a single fingerprint sunken into the wall. Made from unglazed ceramic and seamlessly fitted into the wall’s surface, the remaining mark is barely perceptible from a distance of more than a few feet. It is the record of a motion–of pointing to, pointing at, pointing out–but the object of the pointing is noticeably absent. It is simply the gesture that persists in memorial of an understated action.

Together these works propose a repository of gestures, memorializing what has been discarded or put out of sight. Through this collection of ignorables, Miga reminds us that the concept of ‘away’ does not exists, as what we cast aside remains with us. Her works capture the aesthetic conditions of that which often disappears in plain sight: tiny fragments of discarded material, a single fingerprint, cleaning tools, and the ambient sound from an urban shoreline. The aura
present in the labor and attention required to recreate these easily dismissible items weighs counter to the humbleness of each work’s first impression. In reverberation of an unstable time, Miga’s micro-interventions highlight the unfixed nature of appearances to those who pay close attention.

https://irinimiga.com/wp-content/uploads/2022/02/20.jpg

Who’s Afraid of Komodo

Margarita Bofiliou, Anastasia Douka, Petros Efstathiadis, Zoi Gaitanidou, Phaidonas Gialis, Dimitris Gketsis, Hypercomf, Evi Kalogiropoulou, Theo Michael, Irini Miga, Ilias Papailiakis, Filippos Telesto, Thodoris Stamatogiannis, Valinia Svoronou,  Nikos Tranos, Eugenia Vereli, Eleni Zervou

curated by: Eugenia Vereli, Kostas Efstathiou

September 10 – October 17, 2020

Allouche Benias
Athens, Greece

An Interval (Solo Show)

Irini Miga

Flyweight, New York

04.03 – 08.03.2020

Flyweight
Brooklyn, New York, USA

Overturned 

Stelios Karamanolis, Irini Miga, Tula Plumi, Jeanie Riddle, Yorgos Stamkopoulos, Yarisal & Kublitz

curated by Anaïs Castro

1.29 – 02.02.2020

Daily Lazy, Athens at artgenève
Geneva, Switzerland

The Seen, Chicago’s International Journal of Contemporary & Modern Art, 

Profiling the Experience of a Residency: Spring Residents at Bemis Center for Contemporary Arts 

by Joel Kuennen