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Hypercompf

Hosted by: Onassis Stegi

Athens, Greece


https://www.hypercomf.com/

Biography

Hypercomf is a multidisciplinary artist identity, materialized as a fictitious company profile, founded in Athens, Greece, in 2017, by artists Ioannis Koliopoulos and Paola Palavidi. Based between the city of Athens and Tinos island in the Cyclades, Hypercomf has developed an international practice, producing location, site and time specific projects and activations. The team focuses on targeted collaborations with individuals, communities and locations ranging from musicians to scientists and community choirs to urban rooftop pigeon keepers.

Hypercomf members are graduates of Central Saint Martins School of Art and Design(2007) and Athens School of fine Arts(2009). Since joining forces in 2017, as Hypercomf , they have been recipients of individual Artworks fellowships 2018, a Fulbright Fellowship 2019-2020 (Research Scholar Paola Palavidi) and Outset Greece 2019-2020 production grant. Hypercomf has participated extensively in international exhibitions, projects and residencies, some more recent include a Pioneer Works Visual Arts Residency, NY, US 2019-2020 // Rigenerarte, Municipality of Veneto, IT, 2019 // 7tth Biennale of Thessaloniki 2019 -2020, GR // 7th Syros International Film Festival, 2019, GR // Still Here Tomorrow, Stavros Niarchos Cultural Center, 2019, GR //Wasn’t it you who said that it was going to last forever, HausN, Athens, 2019, GR// Heat Company, Brussels, BE // First Draft, Sydney, 2018, AU

Artists Statement on SDGs

Hypercomf’s practice has been formed around the message of responsible consumption and production starting in 2017 when the team made its first public appearance as a pseudo company, opening a pop-up shop offering products and subverted concepts of production itself. Everything in the show was made utilizing solely repurposed fabrics, reclaimed clothing and furniture upholstery, from this material we created multifunctional wearables, furniture, wall tapestries and video with object protagonists. Since then the team has been sourcing second hand material for the production of its projects , avoiding the introduction of new materials unless absolutely necessary. The aim has always been finding inventive ways of adding value to waste through concepts that bring to life the ideas of re-use and environmental protection for the public.The most recent example of this has been the production of venetian style terrazzo mosaics using marine pollutants, specifically plastics collected from beach clean ups.

Past projects have also dealt with the interaction between industry and local community, the importance of locally sourced raw material, the reuse of production left overs and re thinking the accessibility of the community to the industrial spaces.

Life on land has been a focus the past two years, animals in our narratives are representations of the primal self, of aspects of culture and our belonging in the greater natural network . Whether it is GPPS tracking sheep routes in Alpago, Italy or researching and documenting the interaction of animals and humans in the newly created urban ecosystems. The current focus is to life under water. Hypercomf is based in part on an island of the Aegean sea. This has drawn their attention to the issues of the endangering of the marine ecosystem, oceanic pollution, water politics, the impact of mass tourism and the anthropology of deep sea exploration.

The subjects we are investigating currently, which could greatly benefit of a collaboration with a person of science, have to do with human influence on the marine ecosystem and the anthropological and spiritual connection between humans and the deep sea, a connection mediated through high-end technology, sound and robotics .Through the exploration of these topics we wish to touch on the subjects of marine networks of commerce, culture, tourism andinformation, as well as the various different oceanic manifestations of the human drive for pleasure gratification, exploration and exploitation.

#INSTALLATION #DOCUMENTARY #WEARABLES

SDG Goals

  • Goal 9: Industry, Innovation and Infrastructure
  • Goal 12: Responsible Consumption and Production
  • Goal 14: Life Below Water
  • Goal 15: Life and Land

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In 2018 he was commissioned by the first Riga Biennial to create An Opera of Cross-pollination, a room-sized olfactory-acoustic sculpture that positions the audience at the frontier where knowledge ends and ignorance begins. According to Maciá, this is the place where the senses begin to speak. In a yellow room, volumes of insect sounds gathered from the rainforest in Choco, Colombia combine with the sounds of metal fences and the scent of cross-pollination. In 2018 Maciá won the Golden Pear at the fifth annual Art and Olfaction Awards in London for his experimental work with scent. He was awarded the Prize for the presentation of Under the Horizon (2011/17) at Sala San Antonio Abad – Centro Atlántico de Arte Moderno Gran Canarias España. The smell composition of Under the Horizon draws from the scent of organisms growing under the earth, while employing sculptural conventions and narrative expectations. A plinth elevates a bath to eye level where the taps are constantly running unchecked, filling the tub with a black liquid holding the scent of ‘under’, accompanied by the sounds of cloth being stitched by machines, mixed with the sound of artificial rain. These recordings were made by the artist in a large Bulgarian factory, manufacturing military uniforms for different wars on our planet.Sound too is important in his work. Something Going on Above My Head (1995-99), an installation comprising sixteen speakers playing a symphony of two thousand birdcalls from Africa, the Americas, Asia and Europe, has been exhibited in nine countries – most recently at Tate Britain (2016) in London. Surrounded in Tears (2004) has been exhibited in many museums, including Tate Liverpool (2004) and the Bienal de Cuenca, Ecuador (2011) where Maciá was awarded the first prize. Comprising twenty-two megaphones, each dedicated to a different sound channel, this sculpture is a symphony of one hundred human crying sounds sampled from different cultures and periods. Researching the sounds of tears for two years, the artist consulted recordings and references from a number of collections including ethnographic sound archives across Europe, the Freud Museum in London, the archives of the radio channel Caracol in Colombia, and he gathered the sounds of new born babies from the Royal London Hospital in Whitechapel, London. At Manifesta 9 in Belgium (2012) Maciá presented Martinete (2011-2012), an olfactory-acoustic sculpture he began researching for the 2011 Porto Alegre Biennial in Brazil.Artists Statement on SDGs “It is clear for me as an artist that my work cannot solve social and political problems. I can only create spaces for thoughts and raise new questions with the simple intention of reaching new answers. I am interested in expanding the sense of sculpture into acoustic volumes. Maybe this can change perception and encourage us to think more globally in an echo of the intricate migratory winds that embrace our planet. I want to affirm the importance of insects and their symbiosis with plants for human existence and for the environment generally. If the world follows its current trajectory, cross-pollination, in both intellectual and biological terms, may soon disappear, with catastrophic consequences.”#SMELLS #SOUNDRECORDING #SCULPTURE SDG Goals Goal 15: Life on Land
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