Censoring the Monodrome

The 3rd Athens Biennale 2011 MONODROME (one-way) opened to the public on 23 October and will last through 11 December. Director Giorgos Zois produced a 26” video trailer to promote the event. ERT, the public radio & television corporation, was the Major Media Sponsor. Despite that, ERT refused to broadcast the trailer. The reason was this:

The legal framework in which ERT operates does not allow, among other things, to broadcast messages that contain violence or that encourage behaviors which can damage health or safety or that touch on human dignity. The above legal framework is well-known and those who are involved with the production of promotional messages should be aware of it. ERT  does not censor, does not comment and does not judge the artistic creativity.

The censored video is this.

I first came across this excellent video days before the state censored it from the public tv. I found it aesthetically impeccable and above all apropos. In a country with such social discontent, anything else would be irrelevant. And by the way, one only needs to watch the news bulletin of ERT on the day of a general strike and he will see similar images.

The international contemporary art festival of Athens takes place at Diplareios School (Theatre Square) and at the Arts Center and the Eleftherios Venizelos Museum (Eleftherias Park). More than 100 artists, art groups, curators and theorists participate in the exhibition and the events programme of MONODROME. Furthermore, a series of exhibitions and events organized by cultural institutions, museums and galleries in Athens are included in MONODROME Parallel Events.

MONODROME is being realized despite the Crisis that affects Greece heavily. Produced in a state of emergency, and through the synergy of all participants and a large group of volunteers, MONODROME assembles the diverse pieces of an exploratory puzzle, addressing the “here and now”. At the same time the exhibition attempts to question historical narratives that have functioned as dictums of the Greek sociopolitical and aesthetic identity and resulted in the country’s perennial suspension between a ‘before’ (tradition) and an ‘after’ (modernization). Being usually perceived and promoted as an emblematic city, Athens today is the epicentre of the Greek upheaval, a place of massive demonstrations and public discussions.

Excerpt from the Biennale’s Concept

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