guest poets and guest artist
Katerina Iliopoulou is a poet, artist and translator, who lives and works in Athens.
Her poetry books are Mister T., 2007 (first prize for a new author by the literary journalDiavazo), Asylum (2008), The Book of the soil (2011) Gestus, (poetry and photography, [frmk], 2014, with Yiannis Isidorou), Every place only once, and completely, 2015, all published by Melani editions. She is also the author of several essays and reviews on poetry. In her work she proposes poetry as a strategy for life, addressing issues of identity, perception and myth both in the personal and the collective field of experience. Her translations into Greek include the work of Sylvia Plath (Ariel, the restored edition, Melani 2012), Mina Loy, Robert Hass and Ted Hughes.
Her poetry has been translated and published in literary reviews, journals and anthologies in many languages (English, French, Italian, Spanish, Swedish, Finnish, Turkish, Bulgarian).
Her first book Mister T. has been published in French (Oie de Cravan editions, Montreal 2012) and in Turkish (Delta Yayinlari editions, Istanbul 2012). Katerina Iliopoulou has participated in a number of international writing and translation programs, festivals and Biennials.
She is the editor of a bilingual anthology of contemporary Greek poetry (Karaoke Poetry Bar, 2007) and co-editor of greekpoetrynow.com. She is editor in chief of FRMK, (pharmakon) a biannual journal on poetry, poetics and visual arts .
We welcome Katerina Iliopoulou and Panagiotis Galanopoulos as guest poets in the project. These award-winning poets will read form their work and discuss the topic of the new myth from their perspective.
We will also be joined by the artist Fotis Karageorgiou who will present on his work.
Panagiotis Galanopoulos was born in Athens, Greece, in 1957, trying ever since to be reborn, with relative if not dubitable success. He studied at NTUA and has worked for many years as a Civil Engineer. He also studied Philosophy, Architecture and Blues by himself, without awarding himself a diploma. Following an uncontrollable impulse and/or Heidegger’s testament that only through thought and poetry can we prepare ourselves – even if this might take a few hundred years - for the advent, or its tantamount, for the absence of God, he has been and still is reading, writing or editing and publishing poems and prose.
He has published three books of his poetry:
Trains in Darkness and Other Luminous Poems, Apopeira, Athens 2012: A comprehensive selection of poems about the fullness or emptiness of love, life and the love - lust for life vis a vis death, written from 1976 till 2010.
In the Devil They Hide the Details (The Snake Poem), Koukoutsi, Athens 2015: A long poem, unwinding with its 1050 verses like a snake, about the man’s - poet’s bad conscience when he writes and speaks by using myths, narratives, metaphors, that is by telling lies and his bad conscience when he does not write to speak the truth even by telling lies and why both of these, at the same time, are the necessary and sufficient conditions for his being a poet and his staying alive. The book was ranked second for the highly regarded award of the best poetry book of 2015, of the literary e-magazine O ANAGNOSTIS (http://www.oanagnostis.gr/i-tris-proti-se-kathe-katigoria-ton-vravion-tou-anagnosti/ ).
On the Railing and Other Poems, Smili, Athens 2016, a collection of poems written in the last ten years, some of them surrealistic, others shitrealistic, some of them sentimental and romantic, others cynical and cold blooded, some, and perhaps most of them, according at least to the poet’s ambition, all of that at the same time.
Fotis Karageorgiou is based in Athens and Hydra.
In 2107 he travelled to the northern Greek town of Kozani, and, working in close collaboration with the local community and local folk musicians, constructed a dramatic environment with in-situ installations and live performances within and around the semi-public, half-abandoned train station.
Fotis Karageorgiou attempts to bridge the then and now, by playing on contrasting opposites such as the internal –external, the institutional – grassroots, but also on subjective narration and objective realities, by building on an almost theatrical relationship between work and audience. The free wondering of audience amongst the compositions of elements that comprise the work invokes a sensory, physical memory, beyond intellectual or logical realms of knowledge.