Category Archives: General

Helios the Elemental,Photography master class Led by Enrique Verdugo

Helios the Elemental

Photography master class,Led by Enrique Verdugo


Fundaments of analogue photography • Introduction to the analogue camera • Exposure and taking light readings • Shutter speed settings and movement • Apertures (f-stops) and depth of field • Creative approaches to photographing different subjects • Shoot black-and-white film (ISO. ASA) • Composition and lighting.

Introduction to basic darkroom skills:• Processing film from the previous days, making a contact sheet • Preparing and mixing developers, temperature versus timing • Washing and drying  • Analysing negatives in the light box • The equipment and how it works.

Making prints: • introduction to how enlarger work • Negatives papers and filter grade • Timing • Making first print test and visualizing final print • Dodging and burning.

Exhibiting at the Ionion Center

Venue : Ionion Center for the Arts and Culture & sites in the island of Kefalonia.

Dates  Session 1:      September 7th – 13th 2020

               Session 2:       September 15th – 21st 2020

Location: Greece,   Island Kefalonia.

Opening date for applications: June1st 2020

Deadline for applications:  July15th, 2020

Deadline for completion of submissions/final participations: August 5th  2020

Eligibility : Open to all and to  Photography and film interested

Application by e-mail :    /or/

Academic support :

Information, terms, conditions, fees :

Side activities: Exploration of  Kefalonia’s lights and surrounds, included natural formations, sites of interest, beaches, museums, traditional dancing nights and events.                                                master-classes.

The program will be advanced in collaboration with the ECOTRAVEL KEFALONIA :

About Enrique Verdugo:

Enrique Verdugo is a photographer and filmmaker who lives and works in London. He was born in Santiago de Chile.

He holds a degree in Photography from Arcos Institute in Santiago de Chile and a Masters degree in Film Making from Kingston University in the UK.

Enrique is a freelancer and works with editorial, and architectural practices. His work includes a variety of commissions as well as creative educational projects. He collaborates with diverse artists, as well as on his own projects.

His work in photography and film is mainly on location. Subjects vary

from abandoned architecture and industrial spaces such as in his series ‘Echoes and Deserts’, to experimentation in portraying ‘time and motion’ using the human body as a canvas in his ‘Body and Flux’ series.

Enrique was shortlisted for the ‘Hariban Award’ in Japan in 2019. He is currently working on two self publishing projects, as well as producing a feature length documentary film about water and politics in his native Chile.

Video & photographic works:


SOS paradise calling! Masterclass led by Victoria Vesna & Haytham Nawar

SOS paradise calling!     

  Masterclass led by Victoria Vesna & Haytham Nawar 


Who can go to vacation in paradise and ignore all the suffering going on above and below the earth, the water and the skies?

Meet a group of renowned artists and scientists to explore, learn think about the planet and come up with creative ways to address the urgent calls from people, animals and the invisible world.

Experience the gorgeous, mythical environment through field trips, lectures, workshops through hands on collaborative projects considering the myriad points of view.

Explore the mountains, gullies, lakes and the Ionian Sea.

SEE from a different perspective the planktons and micro-plastics.

HEAR the sounds of birds, the winds of change and the underwater noise pollution.

FEEL the air and get closer to your intuitive sensing.

TASTE the sea and the food that we will cook together and eat in community.


VICTORIA VESNA, Ph.D.:Artist, Professor, Design Media Arts, founder and Director of UCLA Art Sci center, Visiting Professor at Empowerment Informatics Program, University of Tsukuba, Japan and Interface Cultures, University of Linz, Austria. Active since the early 1980s, she created early Internet art works and developed many projects in long term collaborations with scientists.


HAYTHAM NAWAR, Ph.D:Artist, designer, researcher, Assistant Professor and Director of the Graphic Design program, Department of the Arts at the American University in Cairo. Founder and Director of the Cairotronica, Cairo Electronic, and New Media Arts Festival.


Dates              July 14-28, 2020 (due to the pandemic new dates will be determined and announced)

Location         Kefalonia Island, Greece

Venue             Ionion Center for the Arts and Culture

Deadline for applications:

Capacity         16 participants



Artists from all disciplines, scientists, researchers, philosophers, environmentalists, Minds seeking deeper meaning and connection between Creative Practice, Life and the World.


If interested to know more details on general info, terms, conditions, fees, documentation, personal support, kindly email:  OR


The Ionion Center for the Arts and Culture operates in a Global environment in the fields of Higher Education, Arts and Research. The International Strategy of the Institution in accordance to its Establishment Act, is embracing the Globalization needs of the Academic and Art’s World. Knowledge, Academic Research and Innovation in across borders model constitutes the core program of the Institution.

Come to Create, Present, Perform


Tom Faber : Quarry



MAY 5TH 2019

Quarry, Tom Faber



In the summer of 2016, Pokémon Go was released. It allowed you to see Pokémon through your phone camera, situated in the world with GPS, challenging you to catch them. Creatures could become visible all around you; you could see flaming horses appearing by the Parthenon, magnet- creatures wandering the streets, two headed birds walking on water.

The app was a craze – short lasting and kitsch. But it was a contemporary, technological distortion of an ancient human impulse – to see, to exist with and to accept a parallel world, overlaid on our own.

In Kefalonia last year I began thinking about the overlap of myth and the natural world. Ancient Greek culture considered beings and Gods to be embedded in the forces of nature – literally within the wind and the sea. Then and now, we have an impulse towards enchantment with our own inventions, our own power to hybridize and manipulate the biological world in both fiction and reality.

So what is the difference? Is something else at work here?

Man-made events are occurring on a scale now that seems to require myths, which have been used over time to help us conceive of complex natural and social phenomena.

But things that we might have considered of mythical status and size –the reconstruction of clone animals from samples, the digging up of ancient oil for burning, the visibility of funny hybrid animals through our phone cameras – have become normalized to the extent that the idea of what is a ‘myth’ is challenged.

Myth also means a lie, untruth. And now, in a scientific age, it is difficult to say that we thought the universe was born from an egg, or from the body of a frost giant, or will end in such a way.

But it is possible that reaching towards these ‘untruths’ can create a framework for conceptualizing troubling developments that are beyond our normal sight range. This mythical register helps us examine something that appears mythical itself: our constantly increasing power to distort the world around us.



Το καλοκαίρι του 2016, κυκλοφόρησε το Pokémon Go. Eπέτρεψε να δούμε  Pokémon μέσω της κάμερας τηλεφώνου μας, εγκατεστημένο  στον κόσμο  με GPS, προκαλώντας  να τα πιάσουμε. Τα Πλάσματα θα μπορούσαν να είναι ορατά γύρω μας. θα μπορούσαμε να δούμε άλογα με φλόγες να εμφανίζονται από τον Παρθενώνα,  πλάσματα μαγνήτες να περιπλανιούνται στους δρόμους, δικέφαλα  πουλιά που περπατούν στο νερό.

Η εφαρμογή ήταν μια τρέλα – βραχυχρόνια και kitsch. Αλλά ήταν μια σύγχρονη, τεχνολογική παραμόρφωση μιας αρχαίας ανθρώπινης ώθησης  να βλέπει και στην περίπτωση αυτή να αποδέχεται έναν παράλληλο κόσμο  σε συνύπαρξη με το δικό μας.

Στην Κεφαλονιά πέρυσι άρχισα να σκέφτομαι την συνύπαρξη  του μύθου και του φυσικού κόσμου. Ο αρχαίος Ελληνικός πολιτισμός θεωρούσε δυνατό όντα και Θεοί να ενσωματώνονται στις δυνάμεις της φύσης – κυριολεκτικά μέσα στα φυσικά στοιχεία όπως στον  άνεμο και στη θάλασσα. Τότε και τώρα ως άνθρωποι κατέχουμε μια ώθηση προς τη γοητεία  για τις δικές μας εφευρέσεις, τη δική μας δύναμη να υβριδοποιούμε και να χειραγωγούμε τον βιολογικό κόσμο τόσο στη μυθοπλασία όσο και στην πραγματικότητα.

Κατ’ αυτή την έννοια ποια είναι η διαφορά; Υπάρχει κάτι άλλο εδώ;

Τα γεγονότα που προκαλούνται από τον άνθρωπο συμβαίνουν σε τέτοια κλίμακα, που τώρα ανακαλεί τους μύθους  που έχουν χρησιμοποιηθεί στην πάροδο του χρόνου, για να μας βοηθήσουν να συλλάβουμε  σύνθετα φυσικά και κοινωνικά φαινόμενα.

Αλλά τα πράγματα που θα μπορούσαμε να λάβουμε υπόψη για τη μυθική τους υπόσταση και το μέγεθος –όπως  η ανακατασκευή κλώνων από ζωικά δείγματα, η εκσκαφή αρχαίου πετρελαίου για καύση, η ορατότητα περίεργων  υβριδικών ζώων μέσω των τηλεφωνικών μας καμερών – υποστηρίζουν μία κανονικότητα  σε  βαθμό που πλέον η ιδέα του τι είναι μύθος αμφισβητείται.

Ο μύθος σημαίνει επίσης ψέμα, αναλήθεια. Και τώρα, σε μια επιστημονική εποχή, είναι δύσκολο να πούμε ότι πιστεύαμε ότι ο κόσμος γεννήθηκε από ένα αυγό ή από το σώμα ενός παγωμένου γίγαντα  ή θα τελειώσει με τέτοιο τρόπο.

Αλλά είναι πιθανό ότι η προσέγγιση  αυτών των «αναληθειών» μπορεί να δημιουργήσει ένα πλαίσιο για την εννοιοποίηση των ανησυχητικών εξελίξεων που είναι πέρα ​​από  το φυσιολογικό εύρος των οραμάτων μας. Αυτό το μυθικό μητρώο μας βοηθά να εξετάσουμε κάτι που μοιάζει μυθικό αφεαυτού: τη συνεχώς αυξανόμενη δύναμη μας να στρεβλώνουμε τον κόσμο γύρω μας.


Erica Mendritzki: Cold Pastoral, Ode on learning a broken poem by heart

Cold Pastoral:

Ode on learning a broken poem by heart


I don’t especially like John Keats’s poem “Ode on a Grecian Urn,” but I’m trying, anyway, to learn it by heart.

As I repeat it, I think about its lyricism and its awkward moments, its complexities and gender politics.  I think about what else I’ve learned by heart—without even noticing—about art and culture and history.

The drawings in this exhibition are also a kind “Ode on a Grecian Urn”—like Keats, I want to profess devotion to ancient Greek pottery as a means of addressing and containing big, unwieldy concepts like “Truth,” “Beauty,” and the passage of time.  In his poem, Keats unfavourably compares his own writing to the artfulness of the urn, calling it a “Sylvan historian, who canst thus express / a flowery tale more sweetly than our rhyme.”  My drawings are similarly self-consciously imperfect:  wobbly, unstable, cracked, and weird.  I want to incorporate my precarious uncertainty with regards to the past, and to declare my simultaneous admiration for, and distrust of, civilization as a concept and form.


The English Romantic poets loved a ruin. My desire to address the forms of ancient Greece comes partly from a similar affection for brokenness.  But I am also constantly anxious about politics and climate change, and I fear that our shaky social contracts and vulnerable institutions might get completely smashed up and replaced by something worse.  Turning to ancient Greece involves the impulse to start over, to go back to the early days of Western civilization, and to think about how we got to where we are now.  Of course, it’s not like things were so great back then.  Slavery, xenophobia, and sexism were built into the foundations of Western culture. I’ve always thought about art making in relation to broader cultural conversations, both contemporary and historical, and my art practice continues to involve bumping up against, admiring, undermining, refuting, adoring, and disguising the patriarchal, euro-centric canon of art and culture that is, somehow, to some extent,my inheritance.

It feels to me like there is a deep rumbling underneath that canonical structure right now.  Slowly, painfully, thrillingly, the foundations are shifting.  These are trembling drawings, responding to the tremors in this ancient, earthquake-prone territory, this shaky foundation, this ruinous poem, this broken ode.