Irini Miga (born in Larissa, Greece, lives between New York and Athens, Greece) is an artist that works on the convergence point of sculpture, installation, drawing, text and everyday acts.

Irini finds humble, anti-monumental gestures and giving value to the minor and otherwise neglected of immense importance. In her practice, she creates constellations of humble gestures that call for close examination. She ascribes value to the neglected, which becomes of great significance. By examining the way that we navigate and perceive our environments; today and in the past, her work engages with the memory of place from the point of origin to the present. This manifests as reconstructions of sites and objects of personal significance. She’s particularly fascinated with the language of objects that surround our everyday reality; the dialogues and shifting relationships of axes such as physical and mental space, form and utility, sculpture and painting.

Irini Miga studied at the Athens School of Fine Arts (BFA 2005), at the Central Saint Martins College of London (Erasmus, 2003) and concluded her postgraduate studies at the University of Columbia in New York (MFA in Visual Arts, Columbia University, 2012). She took part in numerous residency programs such as Skowhegan School of Painting and Sculpture, the Workspace Program, Lower Manhattan Cultural Council (LMCC), New York, NY and more. Her work has been mention on important international art magazines and newspapers such as Artforum and Flashart. She had numerous solo shows and participations in group shows, in Greece, the USA and other countries, while her works are part of important collections, both private and public ones.

more on Irini Miga:

https://www.irinimiga.com

During the five days between May 28th and June 1st 1976, Alexis Akrithakis creates in Berlin a series of drawings depicting arrangements of little squares. The artist describes these drawings as “nothing new” and any kind of momentous declarations on the subject of art, are replaced by “In this way I am playing.” From the beginning of his career until the end of his life, Alexis Akrithakis , always restless, hadn’t stopped being opposed to any methodology or manipulation was attempting to alienate art from whom it really belongs to: the artist and his audience. Artistic creation for Alexis Akrithakis is integral part of his life and his art of life itself. His work, which just like the artist himself resists categorization and conventional classification, is sharing between writing and painting, proving that there are

not only similarities and differences between the two but these are two faces of the same coin. Writing, painting, constructions with wood, iron and any kind of material needed are the tools and the means by which the artist creates during the ’70s the most recognisable part of his oeuvre.

more nn Alexis Akrithakis:

https://akrithakis.com