Category Archives: Performance




led by  ALEX P. NORDEN.  Info:


VENUE :  Ionion Center for the Arts and Culture, Greek Island Kefalonia

DATES :  SESSION  1  : August 22nd  –August 27th  2017

                    SESSION  2  : August 29th – September 4th  2017

ELIGIBILITY :  Open to every interested world wide . (subject to early enrolment & formality of the process)


The Attendants of the master class will gain necessary skills for creating decorative ceramics with self-made glazes in a self-made kiln,  gas or wood fired, budget and environmentally friendly. Draw inspiration from the rich Greek ceramic heritage.

At the end of the course, students will have skills to make decorative ceramics on their own, with locally sourced materials,  adapted for wherever they live. The basis of using local materials and drawing inspiration from the surrounding environment provides ample means of self-expression and self-reliance.

Schedule and flexibility

The course takes 7 days to 14 days, depending on student interest.

If the participants would like to combine the ceramic course with other activities,  they can participate  3 days total, spread over 1 or 2 weeks.

Embracing the local Greek ceramic artists

Class activities are planned so that local Greek attendants can attend only the glaze making and firing part of the courses ( half-day instruction in the evening, 2 day weekend glaze and firing ).


Exhibition of the created ceramics will take place in the end of the class

Activities  during the class:


Greek heritage, Greek Art and the Sea, and Kefalonian heritage of ceramics. The activities can be done with guidance from the Instructor, or under self-study, depending on student schedule and interest.

The Sea 

Sami : Visit the ancient acropolis of Sami, with it’s ample ceramic tile shards, and the famous Antisamos Beach, observing ceramic remains spread on the beach.

Skala : observe the amphoras during snorkeling via boat or beach, depending on student interest ( extra activity or self-guided )

Ancient Cemeteries and castle: Visiting the ancient burial sites and reviewing the rich ceramic heritage and importance of ceramics for archaeology.

Self-study :Visit the local museums and observe the traditional farming exhibit and the ceramic items on display. Review suggested reading list at the Argostoli library.


A presentation with a brief overview of Greek ceramics is given during the first day of the class, while students are working with clay.

Students make clay items during the first 2 days of the course  for firing during last 2 days of the course

Specifics of making ceramics for rapid firing and high-stress ( clay selection, shamotte )

Glazes – making your own glazes from scratch. Iron, Ash, clays and fluxes.


Students get to:

make their own tongs for taking work out of the fire

participate in making a ceramic fiber raku ceramic kiln

learn about different methods for firing decorative ceramics – gas, wood, and open fire ( pit fire )

Fire their own items and observe different techniques for post-firing

Using locally available “trash” like fallen leaves, seaweed and wood for sustainable decoration

Ionion inspiration – Local materials

– Collecting salt infused driftwood and seaweed by the sea to affect glazes during firing

–  Local clay for some of the glazes

– Making own experimental chamotte

– Mixing clays for testing and what to look for in pre-made clays

About the Instructor Alex P. Norden


Taught through a traditional apprenticeship with Hiro Sato, Alex is a potter working globally, with a ceramic workshop in Sweden and ample years of instruction experience.

Exhibited worldwide, his work is represented internationally, including the collection of the Metropolitan Museum of Art ( USA ).

Alex is winner of the SEA(S)ARTS ,INTERNATIONAL EXHIBITION 2016 grant.

Preliminary Schedule


1 to 2 days self- study before start of course. Suggested reading list, PDF course material.

Day 1 – making ceramics, material overview

Day 2 – making glazes and kiln, firing technique theory

Day 3 – Kiln firing

4 days, Optional  Art, material and technique research and ceramics creation spanning 4 days.



 Web application:

 Email application:


In all cases is required the follow information in word document :full name of the applicant  , postal address, phone, country , email address, web site(if available), profession, discipline , short statement of the applicant no longer than 200 words , short cv no longer than 200 words.                                                                                                 In case of group  /collective project( group -school- organization) is required title of the group -school- organization, full name of the  person representing OR leading  the group  , postal address, phone, country , email address, web site(if available) of the group -school- organization  , short  statement no longer than 200 words , short cv of every group member no longer than 200 words.

Every  submission   requires an application/entry fee  of euro 30, non refundable.

Each Application toward been considered must be completed including the follow:

-Short submission notice -3 lines- in word document  addressed via email to the address

– The transfer confirm of the entry fee payment, Euro  30 for every separate application.

– CV/Biography of the participant  or CV/Biography  for each of the group members in case of group project(text  in word document non exceeding the 200 words)

– A short statement (text in word document not exceeding  the 200 words,  short description of the  expectations of the participant).

FEES (master class fees) &PAYMENT METHODS

 Fees including tuition fees, 7 days full housing accommodation and personal support  are based on the Ionion Center master classes pricing list 2017 , taxes added on the official invoices . For details  please email to :


-All the submissions/ completed participations on the program are eligible for the year Grants 2017 of the Ionion Center for the Arts and Culture as follow:

  1. Grants connected to the residency of the year program : Starting from 1000 up to 30.000euro.
  2. Grants connected to the SEA(S) FORUM: Starting from 2000 up to 50.000euro per year(in case of formal participation in the SEA(S)2017).
  • All the participations will be followed by  Certificate

For additional information & personal support please email  :




100_0036 (2)Peter Toy : “The philosophy guiding my work is with establishing questions in relation to contemporary global dilemmas. For example; Is Nature interested in the continued survival of human kind. And also, Is God Dead. This way of working reinforces my belief that, in Art and Philosophy, questions are more important than answers.”

I am a Visual and Performance Artist with three decades experience as a practitioner and educator.
A recent project. presently in production, is the Photo book – “The Character of Katoomba” – (portraits of Katoomba personalities). I also give Professional Development workshops to Schools and Community groups on Camera use, Photographic technique and Photo-editing.

I am actively involved in Performance Art and Video Art production, the most recent being; “Is God Dead” (2011-2015), which is to be performed and exhibited at Maumau in Istanbul, Turkey in 2015 and at the Ionion Center for the Arts and Culture ,Kefalonia, Greece.
Is God Dead. (2011 – 2015).
The project begins in Sydney, Australia as performance art where I walk the streets with a sign attached to my back which reads – Is God Dead.
The project, overall, is about a cycle; beginning with the statement and continuing as a video installation, with scattered words, where one is asked to pick-up a small piece of paper which reads – Is God Dead. The work is in two parts; the performative text and the video. The video could be said to be anti-photography because it is has no subject and has little regard for framing. I call this technique of documenting freeflowingvisuals; where a hidden and unrestrained camera, (on the performer’s body), documents the performers world. In this case the streets of Sydney. This is not photo-documentation but rather a para photo-document, a space/time fragment in digital form.
A portfolio of my Performance and Video production, also known as Freeflowingvisuals, can be seen on my Vimeo Page:


art performance του Peter William Toy‘’Is God Dead?’’
Saturday October 24 – 2015 – 19.00 p.m
Invitation to attend Peter William Toy in his art performance ‘’Is God Dead?’’
Τhe Artist using the everyday objects and customs of the here and now in his live performance looks at how eternal questions are dealt with in the routine of everyday life and questions if we really have time for this kind of thinking.




12119127_998695160151135_816581614628765659_n 12079642_998695290151122_660491730441321561_nNICHOLAS JONES : ‘’IONIAN ODYSSEY’’
All who wander are not lost
For over 15 years, Melbourne artist Nicholas Jones has been making his unique work out old and unwanted books. His current body of work follows the history of navigation and mapping in the Ionian Sea, focusing on the island of Kefalonia.
Inspired by studies of the journeys of Odysseus and the collection of the Corgialenos Library in Argostoli, Jones Odyssey brings him from Australia to Greece in search of the Old, the New and the Forgotten.
*Nicholas Jones * <>
John Buckley Gallery – Nicholas Jones
State Library Exhibition – Nicholas Jones
Meanjin – Nicholas-jones
Where They Create – Nicholas-Jones
Facebook Page – Nicholas Jones Book-Sculptor

Documentary on Nicholas Jones 2011 <>

Thoughts by the Art Critic George Kakis Konstantinatos,
introducing the work and exhibition of Nicholas Jones entitled<< IONIAN ODYSSEY>>
Ionion Center for the Arts and Culture ,Greek Island Kefalonia
August 31 2015

Just as the Antikythera Mechanism, where we see something rather very small, that hides a vast knowledge, specificity, precision, wisdom, thus – under similar terms- we should see the work of Nicholas Jones.
Like something very small, that hides his hard work, talent, knowledge
and the study of the object, which is the artistic sculpture – ‘surgical’ ‘- interference
mainly in old books.

What one can see with a glance touch in the work of Jones is that his books carry
dust of the time were written, along with the meander of the life struggle of that time,
things that both the artist brings to day light , to accept on their leaves the fresh air
in a renewed journey where their new life is starting now!

The paper cutting sculpture of Jones is respectfully taking into account what is written within these books,
The theme of the book, together with the material on or by which this occurs:
The old paper, the ink, the era fonts, etc. all been brought in today.

Given that the books printed under the photosynthesis process ,
none of them will stay permanently throughout the upcoming centuries …
(The destruction will happen under very slow process, already determined by all of us as fact regarding the
first fax printings or the payment receipts).
Only pages that are printed in the classical way in printing pressure machines- as
Example the Heidelberg type- will survive.
… the use by the artist of this specific type of classic books and their emergence in a new context, setup a play with the knowledge and the time , that posses a considerable importance.

In the present exhibited work entitled “”IONIAN ODYSSEY’’ we have a Maritime travel and Mapping.
The Navigation <>, needs the Mapping the <

Sailing and Map. Content and Form.
The sailing as content, and the map as an illustration of the ride.
One creative element is the ‘’Dionysian’’ a sailing, travel experience to the material synthesis and the same time travel within us,
The other element the ‘’Apollonian’’ is the map…. counting the miles, from here to there …


With the assistance of the mapped knowledge, this visual navigation, searches and claims
through this Odyssey an opening in the horizons from the Old and Forgotten to the New,
still possessing the inherent seed decay.
But even so according the subtitle of the exhibition: Those who wandered were not lost!

In the Ionian Odyssey of Jones, Kefalonia Island is referred to as the Central Point.

The Creator has a clear inner sense leading him – perhaps without knowing it – and holding the papers of
Corgialenios Library, implements with his work achievements the fact that during the Greek Empire(so called by the famous Englishman Byzantinologist Sir Steven Ransiman), Kefalonia was the Center in the Ionian Sea, under the administrative title <>.

The artist is conversing- maybe- with his own “”red dressed” people, commanders of the Islands between 1810 to 1864. These people had among them the negative “Maitlands”, rejected by the local collective conscience and the positive “Napier”, saved by the consciousness of the island’s world.

Nicholas Jones works on what only through true art can be operated: He returns to the World clear the body of the Ionian Islands, expurgated by removing with his work any fainthearted geopolitical considerations.

His instrument to achieve this apologetic clearance, patience and art is his scalpel-cutter, cutting paper of his last as prayer, passing hundreds of times over the leaves of his books, chiseling and cutting them, one by one!

The book, a book, any book, tells us “something”. This same “something” is what Jones points out, interfering with his paper cutting, highlighting –after his long study-geographical, historical, cultural elements.
Let’s take as example of his work the little booklet that molds the Lion of St. Mark,
On it is printed the play “Othello” by William Shakespeare.
Yes but Othello is an official of Venice, entity having as emblem of St. Mark’s Lion.
So Jones succeeds to connect in a “talk” Shakespeare, Venice and Othello on the same scene that is the Ionian Islands, underlining the fact of the Venetian occupation on the Ionian Islands, thus putting the project in the body of this report entitled ‘’Ionian Odyssey’’.

Making one digression here to say that Othello, the famous “Black” of the famous Shakespearean tragedy, it would of course never been black. The places reserved to those black people by the Republic of Venice was rather the role of the ship rowers. What is true is that the coat of arms of the historical person , who Venice entrusted the management of Cyprus of acquisition, was represented by three berries, with underneath the word “Mauro”, in Greek means “Black”. The detail, together with the black deed of the murder of his wife Dysdaimona from undue jealousy, gave the Othello the feature of Black!

Beneath the black (or dark red or green or dark anyway -compared with white pages-) cover of his books, Nicholas Jones highlights the whiteness of the pages.

If we want to integrate his artistic work we would say that certainly belongs to the genre of sculpture.
The micro – graphic sculpture.

My opinion is that ,we still can connect this kind of sculpture with one of the art styles :
The “Op Art” (Optical Art).

Τhe fact however is that, Jones finds with his work,His Globally recognizable figurative mannerism.
(Which I’m sure started playing as a kid …!)

And the playfulness between Micro-graphic Sculpture and “Op Art”, in the postmodern era in which we are already, brings to mind a sense from the History of Art:

As Humanity nowadays is attending all her past passing in front of her eyes in a speedy way, we can consider as war signal the return of all styles….!

George Kakis Konstantinatos

Actor- Director –Visual Artist


Siren / Earthquake / Radio, Craig Dongoski – John Roach

Siren Earthquake Radio

Artists Craig Dongoski and John Roach propose a series of events on the island of Kefalonia that explore its environment, culture and history. The project, which would run from July 22nd 2015 to August 12th 2015, is structured around the three words that make up its title: Siren Earthquake Radio. Each of these ideas suggest an energy or signal that will frame our engagement and our understanding of the forces that make up Kefalonia’s history.

The project includes four main activities: a fluid participatory event in the Melassani Cave; a performance at the Ionion Center which will bring these two U.S. artists together with local Kefalonian artists, musicians and poets; a series of radio broadcasts that present the daily and evolving work produced during the project; and a schedule of workshops and events in which the artists work with the people of Kefalonia.

1. Event at Melassani Cave
Dongoski and Roach will respond to their experiences, observations and impressions of the cave. The movement of boats through the cave’s watery enclosure will serve as the physical and metaphorical material for a performance and sound installation. The goal is to augment the tour of the cave through sonic interventions. This begins with the understanding that visitors travel and experience the cave visually as a loop. This continuous and predictable path of the boat is a circuit interlaced with small hesitations and deviations. The boats travelling this circuit will become the shifting components of a system of feedback loops, unexpected sonic collisions, music and light.

The flow of visitors will dictate the structure of this performance-intervention and will necessitate our access to and cooperation with the authorities who manage the tour schedule. On the other hand, a discrete performance using the cave as an amphitheater is of equal interest and enables other possibilities. We could engage Melassani as a controlled performance venue in addition to, or in place of the aforementioned visitor-dependant proposal.

2. Performance at Ionion Center
Dongoski and Roach will design an event for a live audience at the Ionion Center. While the shape of the performance will be determined during the residency, the goal is to work with local artists which might include musicians, dancers, poets, etc. Of particular interest is the language and music of the island, which the artists will meld with their own revelations that arise during their explorations in Kefalonia.

An initial starting point is to use the wind as source material. To this end we would like to begin a conversation with authorities that might grant us access to document wind turbines and allow us to temporarily install wind harps for collecting sound. We also want to put the geological reality of earthquakes (eg seismic activity) in the foreground of at least one of our performance pieces. Access to a facility that possesses a seismograph is of great interest for the artists and would connect the geology of the island to drawing and graphic notation.

3. Radio Broadcasts
The artists will be in constant dialogue with Kefalonia as a place: its weather, its goats, its land, its water; and will be recording and experimenting throughout their stay. Each day Dongoski and Roach will create a mix from the material accumulated so that it can be shared over the airwaves.

4. Workshops, Events and Actions
While many of our projects incorporate collaboration with the people of Kefalonia, we would like to encourage direct and organized participation through workshops the results of which can feed back into our work. One example is an instrument building workshop for children followed by an improvisation session. Another is a Greek language pronunciation workshop in which the two artists work with local participants to attempt to enunciate words in Greek.

5. Exhibition at Ionion Gallery Space
Exhibit preliminary sketches
Field Drawings
Graphic Scores
Drawings made from nature
Photo by Craig Paulson


Julia Heurling – Maria Demas ”A DIALOGUE IN SPACE”

An exhibition built as a conceptual installation.
Horatio and Celeste are two fictive characters,
representing the works of Julia Heurling (Horatio) and Maria X Demas (Celeste).
The names derive from the concepts and meanings of “horizon” and “celestial”

Designer Julia Heurling returns to the Ionion Center for Arts and Culture (ICAC)on a residency furthering her research on the project A HORIZON IS NOT FLAT. After a short term stay in Tokyo her direction took a slight turn, so, with fresh perspective and while reconsidering theoretical aspects of her work, she invites local artist Maria Demas to a creative dialogue in a defined space through applied art. The exhibiting hall at ICAC takes on the active part of a work of art leaving its passive quality behind, since the artists in a joint attempt engage with the space as a dimension, and as a circumstance by way of placing their work within it. The show’s duration is one day and a section of the installation will be open studio where visitors can see the work process.
Saturday, June 13th 2015, from 20:00.

TITLE_ ‘Celeste-Horatio: dialogue in a space.’

H Σχεδιάστρια Julia Heurling επιστρέφει στο Ιόνιο Κέντρο Τεχνών και Πολιτισμού (ICAC) σε μια προώθηση της έρευνας της σχετικά με το έργο << Ο ορίζοντας δεν είναι επίπεδος>>. Μετά από μια σύντομη παραμονή στο Τόκιο η κατεύθυνση της πήρε μια μικρή στροφή, έτσι ώστε, με νέα προοπτική και επανεξέταση στις θεωρητικές πτυχές του έργου της, καλεί την εντόπια Καλλιτέχνιδα Μαρία Δήμα σε ένα δημιουργικό διάλογο και σε ένα ‘’καθορισμένο’’ χώρο με συμμετοχή της εφαρμοσμένης τέχνης. Ο εκθεσιακός χώρος του Ιονίου Κέντρου αναλαμβάνει ενεργή συμμετοχή ως καθεαυτό μέρος ενός έργου τέχνης, αφήνοντας πίσω την παθητική ποιότητά του, δεδομένου ότι οι καλλιτέχνες σε μια κοινή προσπάθεια ασχολούνται με το χώρο ως μια διάσταση και ως δεδομένο παράγοντα που θα αποτελέσει το πλαίσιο της τοποθέτησης των εργασιών . Η διάρκεια της έκθεσης θα είναι μία ημέρα και ένα μέρος της εγκατάστασης θα λειτουργήσει σαν ανοικτό στούντιο, όπου οι επισκέπτες θα μπορούν να παρακολουθήσουν τη διαδικασία της εργασίας.
Το Σάββατο 13 Ιουνίου 2015, από τις 20:00.
TITLE_ «Celeste-Οράτιος: Διάλογος στο Χώρο.»

Julia Heurling
works as a designer and artist specialized in pattern and Textiles. She works within and in between the fields of interior design, product design, art and artistic research. She is educated at the Swedish School of Textiles, based in Stockholm, Sweden. Among her commissions are patterns for wallpaper, iPhone cases, calendars, textiles, and artistic decorations.
Her work “A horizon is not flat” was exhibited last year at The Ionion Center for the Arts and Culture, as a part of the “Mapping Kefalonia” program.

Η Julia Heurling είναι σχεδιάστρια και καλλιτέχνης με ειδίκευση στα μοτίβα και ειδικά στα υφάσματα. Το έργο της κυμαίνεται μεταξύ των πλαισίων του βιομηχανικού σχεδίου, σχεδιασμού προιόντων , τέχνης και εννοιολογικής έρευνας. Σπούδασε στη Σχολή Υφαντουργίας της Σουηδίας, στη Στοκχόλμη. Ανάμεσα στις πολυάριθμες αναθέσεις της συμπεριλαμβάνονται σχέδια για ταπετσαρία, θήκες για κινητά iPhone, ημερολόγια τοίχου, υφάσματα, διακοσμητικές συνθέσεις και αντικείμενα.
Η έκθεσή της ” Ο ορίζοντας δεν είναι επίπεδος” στο Ιόνιο Κέντρο Τεχνών και Πολιτισμού, το καλοκαίρι του 2014, είχε αποτελέσει μέρος του προγράμματος “Mapping Kefalonia” του Ιονίου Κέντρου.

Maria Demas
Born in Athens 1977. Residence in the USA for 1 year, and 8 years University studies in the UK. Holder of B.A. in Illustration, and M.A. in Philosophy in relation to Art. Professionally active in a number of visual arts like storyboarding, graphic layouts, comics creation, hand-crafted shop signs, mural making, and teaching art workshops since 2002. Has taken part in art exhibitions in Portsmouth, Athens, and Cephalonia where she has been residing for the last 8 years.

Μαρία Δήμα
Γεννήθηκε Αθήνα το 1977. Διαβίωση 1 έτος στις ΗΠΑ και 8 χρόνια σπουδών στο Η.Β. Πτυχιούχος στην εικονογράφηση και μεταπτυχιακό σε φιλοσοφία γύρω απ’ την τέχνη. Επαγγελματικά δραστήρια σε τομείς εφαρμοσμένων τεχνών κυρίως storyboard, γραφιστική, κόμιξ, επιγραφοποιία, διδασκαλεία εικαστικών από το 2002. Συμμετοχή σε εκθέσεις ζωγραφικής/μονοτυπίας σε Portsmouth, Αθήνα και Κεφαλονιά όπου διαμένει τα τελευταία 8 χρόνια.