Singing Stars: Feel Free To Throw Up.

Audrey Hepburn, Marlene Dietrich and Rita Hayworth compete
as to which one will outdo the others in unreleased performances.
Feel Free To Throw Up lend mouths and eyes to a
video installation that skilfully turns everything on its head.
Three screenings of three cinema heroines giving humorous
renditions of well-known songs, both theirs and those by other
artists. These leading ladies are reborn through the comic eyes
of Feel Free To Throw Up (Aris Hantzopoulos and Yiorgos Papadopoulos),
and stand before us as holograms, so that we as
viewers are able to re-live some of the old glory days of these
big cinema stars, all through a minimalistically eccentric approach
that overturns everything.

Saxophone Players

Lindy Hop Video

Lindy Hop: Jitterbug (in Aristotle Square)

Jitterbug

Street Performance

Street Performances, November 9, 11 & 12

Odyssey

Film installation on the roof

Bike street performance

Project Odysseies

Alongside its other activities, the Street Cinema project welcomes
the A4M experimental performance arts research
group and its especially interesting Project Odysseys, a sitespecific
promenade performance that meets the cinema by
way of another road.
This is an ‘ambulant’ performance that combines different art
forms, such as visual and sonic arts, installations and live music,
but also different theatre techniques like physical theatre,
opera and acrobatics, among others. Project Odysseys selects
the public areas of the city as its field of activity. The city is
transformed into a living organism in which the everyday becomes
non-everyday and the familiar surrenders its place to the
unknown and the mysterious. Dusty walls half-knocked down by
former times, old railway lines that lead to nowhere, stories of
the city that come to life before our eyes, doors that we didn’t
open and human stories that were fermented with the past and
left to fizzle out into oblivion. Inspired by the Homeric epic, the
viewer is invited-as another Odysseus-to perambulate in the
city of Thessaloniki, discover treasures, meet whatever is different
and be guided in corresponding adventures comparable
to those experienced by the Homeric hero. The viewer is called
upon to follow a series of live images and walk in both real and
mental streets in the city, in space and in time.
At the same time, some of the viewers use a camera to record
the performance / journey itself, thus creating their own Odyssey,
their own document, through the choices they themselves
make.
The Odysseys is not a performance-it is a life experience

Roof Installation: Clips from Film

Roof Installation

Bicycleography...

Wheel. Reel. The similarity between the bicycle wheel and
the film reel does not lie in design alone. Their relationship
proves to be a source of inspiration for the members of Bik-
eRespect, who wheel into the city on their 50 bikes, laden
with sounds and images.
‘‘It was a regular afternoon in the centre of Thessaloniki, and I
was walking amongst strangers, trying to finish up in time some
of the tasks that pop up every day and need to be taken care
of. Coming out along with the continuous grey sound of car and
motorcycle engines I also heard notes, notes that were lively,
slow, intense, calm, notes from a violin, notes from drums…
and then I also heard words, words coming out of crystalline
voices, everyday voices, female voices, male voices, voices of
anger, laughter… notes and words from films… And then I saw
colours… Yellow, red, orange, black, blue, green, white perfectly
round open umbrellas. Umbrellas that were joyous, optimistic,
umbrellas that were on colourful bicycles…And I remembered
the bicycle lane I’d first seen a couple of days before, and I
thought how noiseless the bicycle is, and how much it reminded
me of my buried childishness, taking me back on a trip to care-
free times. I saw a lot of bicyclists together, with all of those
umbrellas and film soundtracks…All of these together were so
similar, with the bicycles and the umbrellas, but at the same
time so different, as they were women, men, children, young
people, people who were middle-aged, advanced in years, all
of them were together…so as to remind me of scenes, images,
snapshots in which a bicycle or an umbrella is the protagonist,
in its very own big or small still. And I felt myself breathing-in an
air that was different; something’s happening out there, some-
thing different is happening in the city.”

What do I know about her..? (roof installation)

If at some point you’ve ever dreamt of staging a screening
on the rooftop of your block of flats, then Vangelis Kolotsios’
event will certainly grant you your wish. The futuristic im-
ages of Metropolis meet the pop sensibilities of Two or Three
Things I Know About Her in a screening about the change to
and the evolution of the urban landscape. One block of flats
becomes a cinema, and two films about the city converse
with Thessaloniki itself.
The installation includes two films: The futuristic-looking Me-
tropolis, under the authority of the overseer, the sole tyrant com-
manding both machine and development; and, the pop-tinged
Two or Three Things I Know About Her, ruled by a contemporary
society led by multiple choice, consumption and the mask of
modernisation. This unique pairing draws out various issues and
raises many points, which could be interpreted by the viewer in
a variety of ways (as can occur in the case of almost any film).
The visitor walks inside the block of flats, juxtaposing it with the
world found in his or her mind, as the installation forms a course
/ evolution with a beginning, middle and end. This is rearranged
according to the direction chosen-from the Entrance of ques-
tioning, to the Lift of the Word, to the Rooftop of the society of
the spectacle and the areas of consumption (and the reverse).