A Vindication of Tlon presents new and specially commissioned work by Joan Fontcuberta (Spain), Wojciech Prazmowski (Poland), Erasmus Schroeter (Germany), Susan Trangmar (UK), Victor Koen (USA), Eleni Maligoura (Greece), Holly King (Canada), Eric Emo (France), Philip George (Australia), Lynn Silverman (USA), Haris Zevlaris (Cyprus), Nikos Panayotopoulos (Greece), Olga Kaloussi (Greece/Germany) and others.
Associated satellite exhibitions on the subject of photography and the fantastic include A Cabinet of Photographic Curiosities by Buratonni & Abrioux (France), Joan Fontcuberta's recent Semiopolis series, Riwan Tromeur's (France) extensive installation Des Grands Nords, Lizzie Calligas's Swimmers, Marialba Russo's recently completed Incantesimo series (Italy), and a selection of Erasmus Schroeter's hallucinatory Bunkers.
As usual, a number of solo exhibitions lying outside the principal theme will show new work by Hector Dimissianos, Jean-Jacques Dicker, Nikos Koukis, Christos Apostolakis and others. In this context, we are particularly pleased and honoured to present the first ever exhibition of photographic work by the well-known British art historian and critic, Ian Jeffrey.
Photosynkyria's audience is aware of the fact that the event, while remaining faithful to its roots, is constantly on the lookout for exciting new departures. This year we have widened our horizons to include work in another medium, and the opening of A Vindication of Tlon on February 24th will be accompanied by the world premiere performance of a new musical composition commissioned from Panayotis Leftheris. To mark this development, Harry Lefakis has organised EchoSynkyria, a concert of music for small ensembles by young Greek composers which will take place in the courtyard of the Museum of Byzantine Culture, while this year's seminar by Ferdy Carabott takes "Sound & Image" for its subject.
Photography is only one of many activities within the field of art and culture, and perhaps one of the least insular; film, video, literature and the other visual arts often interface with photography. Surprisingly perhaps, music, like photography, a fertile field of research and experimentation, suggests further connections, while offering new opportunities for a constructive breaching of hitherto isolated categories.
Finally, readers will note that the Photosynkyria catalogue has undergone a further development, and now consists of two independent publications: a general catalogue, and a monograph on the subject of photography and the fantastic.
Thessaloniki Museum of Photography