Chrysanthi Koumianaki

Chrysanthi Koumianaki (b. 1985, Heraklion, Greece) is an artist based in Αthens. Her practice investigates the idea of translation, creating symbolic systems, codings, scores and alphabets focusing on a non-verbal communication. She reconsiders and manipulates rules and methods of a global visual language, creating new narratives which reflect upon different times. Her works suggest dialogues and communication systems. In this way she often collaborates with other professionals such as dancers, actors, architects and musicians who have an active role in each piece. Her main body of work are installations combining different media like sculptures, drawings, prints, video, sound and performance.

Her work has been exhibited in solo and group exhibitions in institutions, museums and galleries, such as: NEON Foundation, Αthens (2021); Fondation Hippocrène, Paris (2018); Netwerk Aalst, Belgium (2018); Kadist, Paris (2017); Danske Grafikeres Hus, Copenhagen (2017); Benaki Museum, Αthens (2016); MENTIS Benaki Museum, Αthens (2016); State of Concept, Αthens (2016); Thessaloniki Biennale of Contemporary Art (2015); Αthens Biennale (2013); National Museum of Contemporary Art, Αthens (2013). It has also been presented in exhibitions by museums and foundations, including Fondazione Prada (2017), PHENOMENON (2017), DESTE Foundation (2016) and the New Museum in Νew Yοrk (2016). She has participated in programs and residencies such as: Studiotopia (BOZAR & Οnassis Stegi, 2020-22) and ARTWORKS-Stavros Niarchos Foundation Artist Fellowship (2018).

Since 2012, along with Kosmas Nikolaou and Paky Vlassopoulou, she is one of the co-founders of 3 137 artist-run space in Αthens.

Chrysanthi Koumianaki is a participant of The Critical Practices Program of Οnassis AiR 2019-20 and of the Tailor-made Fellowships program 2022-23.

In mid-September, I made a contract with myself: I temporarily left my studio and moved to a new space downtown, to Onassis AiR. I lived with a group of people who held similar contracts. We shared a period of intense cohabitation, group pursuits and conciliation. For a while I took a brave hiatus, where I generously let go of my routine and went into a process of daily exchange and alternative learning.

Our trip to Indonesia during The Critical Practices Program was like a firework. It awakened thoughts I have long had. About community and mutual support but also about work, the relationship between tradition and the present and future, the importance of time and the care you give to things. An instrument that requires 3-20 musicians in order to function, an outfit painted for hours with patience, concentration and dedication, groups of 10 people and over, groups that collaborate and support each other for the empowerment and survival of the community.

The above concerns have been part of my work and its different forms since a long time. How does a work of art bridge different times or incorporates pieces of a written or informal history? How does it work as an imprint of labor, of production time and the people who made it? How does it talk to the public and how can the public be part of it? Can a work of art create a community? During this time, I worked on evolving ideas. I looked back at my previous works with the desire to create a new narrative around production time, backstage, tradition and craftsmanship as means of relaxation and awakening, cooperation and friendship as means of resolution and evolution.