Linda Yablonsky around Athens and Hydra


Maurizio Cattelan, Dakis Joannou, and Jeff Koons. All photos: Linda Yablonsky.

WHAT A RUSH to reach in Athens and to find it within the throes of a cultural renaissance! What else to make of the June 16 opening of the Nationwide Museum of Fresh Artwork (EMST), the place the collection of first-nighters crowned 5 thousand? Of the brand new gallery district close to the port of Piraeus, the place Rodeo, Balice Hertling, and The Intermission have been cohosting a display via Camille Blatrix, whilst such proudly post-crisis areas as artist Angelo Plessas’s P.E.T. Initiatives are status up for the native avant-garde?

Then there was once “Brice Marden and Antiquity” on the Museum of Cycladic Artwork. This compact survey of works made via the artist in Greece from 1971 to now could be virtually too beautiful to undergo. Additionally unmissable was once “Dream On” on the Tobacco Manufacturing unit, a ginormous development that the very civic-minded collector Dimitris Daskalopoulos leased for his NEON Basis from the Greek Parliament, subsequent door. This eye-popping set up’s most commonly large-scale works via the likes of Thomas Hirschhorn, David Hammons, Annette Messager, Wangechi Mutu, and John Bock are amongst the 350 that Daskalopoulos—a wonderful individual—has divided into all-expenses-paid presents to 4 museums: EMST, Tate Fashionable, the Guggenheim Museum, and the MCA Chicago. “Everyone was once glad and no person was once jealous,” the collector joked, all over one in all a dozen or so methods happening round the town within the three-day “Artwork for The next day to come” convention arranged via the Athens place of job of the Democracy and Tradition Basis.

Definitely, the Athenians who swarmed EMST’s huge exhibition areas had explanation why to be cheerful. After the Greek executive designated the previous FIX brewery as a public repository for fresh artwork, they waited twenty-two years to look it transform totally operational. On the middle of the commotion was once EMST’s jubilant inventive director, Katerina Gregos, who took up her place simply because the Covid pandemic close the town down. Now she has an enduring assortment beefed up via 140 works from NEON and is incomes kudos because the curator of the transient exhibition, “Statecraft and Past.” This display could also be longer on analysis and geopolitics than visible splendor, however it boldy tackles such thorny problems as citizenship, nationhood, autocracy, state forms, and the ability constructions in the back of it all. Whitney director Adam Weinberg favored it very a lot. So did Dia Basis director Jessica Morgan.

Adam and Lorraine Weinberg.

Each have been some of the world cohort of artists, creditors, curators, and gallerists who joined their Greek opposite numbers for a frenzied weekend of cascading occasions that introduced the hole of Katharina Fritsch’s first solo exhibition in Greece to the George Economou Assortment in Maroussi, a perfect and affecting exhibition of the overdue Kaari Upson’s paintings to collector Dakis Joannou’s Deste Basis, and in the end peaked with a blowout at the island of Hydra that no person who was once there's more likely to omit. The cause of that was once Jeff Koons. His surpassing new paintings for Deste’s Slaughterhouse venture was once now not just a go back to height shape that forged one of those spell on Hydra, but in addition a salute to his thirty-five-year friendship with Joannou. (Extra about that during a second.)

Regardless that credited as curator of Fritsch’s standout set up of latest and older works with Economou Assortment director, Skarlet Smatana, Morgan mentioned, “Katharina in reality curated it herself,” stating that the artist owns lots of the modestly scaled works on view. They incorporated a celadon-colored forged of the artist’s hand and a captivating, braided black resin turban that reminded attentive visitors of the knotted tails binding the colossal rodents of her 1993 masterwork, Rat-King. Economou has got 3 new freestanding sculptures, probably from Matthew Marks, the broker who shepherded Fritsch to a dinner in her honor at the rooftop terrace of that ordinary space of Byzantine treasures, the Benaki Museum.

Visitors numbered round 100, a small sampling of the throng collected on the Onassis Cultural Heart at the June 18 to witness “Artwork for The next day to come”’s concluding program: a dialog with Koons and the New Museum’s Massimiliano Gioni moderated via Farah Nayeri, a reporter for the New York Instances primarily based in London.

His listeners have been keen to listen to about his proprietary collaboration with NASA and SpaceX to put in a five-inch sq. dice containing 125 photographs of lunar stages at the moon, they usually did, in the end. To the visual consternation of all, an alternately fawning and reproachful Nayeri gave the ground to Gioni for lots of the hour, as though the artist weren’t there. Gamely improvising, Gioni did his easiest together with her overarching query, “Are you able to give an explanation for how Jeff Koons become a family identify?”

This was once no thriller to Qatar Museums Authority director Sheikha Al Mayassa bint Hamad Al Thani, who was once entrance row-center with Weinberg and Joannou; every has hosted primary surveys of the Koons oeuvre of their respective establishments. Nor was once it a puzzle for Sir Norman Rosenthal, MoMA PS1 founder Alanna Heiss, Acute Artwork director Daniel Birnbaum, or Renaissance Society director Myriam Ben Salah. All have been seated close by, with artists Maurizio Cattelan, Sue Webster, and Brian Donnelly (aka KAWS, some other convention speaker), deputy tradition minister Nicholas Yatromanolakis, and the president of Tradition and Democracy, Achilles Tsaltas.

Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani, Sandra Marinopoulos, and Aprhodite Gonou.

Inevitably, Nayeri raised the threat of Koons’s headline-grabbing costs and (actually) sky-rocketing manufacturing prices. In reaction, the mild-mannered artist dipped his arrow in poison. “It displays the restricted high quality of the clicking to have a discussion about artwork. What’s more straightforward for them to speak about is cash, as a result of I feel the writers are too insecure to discuss artwork.” That caused Gioni to commentary, “Every now and then I tease Jeff and say he’s somewhat bit loopy.”

Within the ultimate mins of this awkward dialog, Nayeri requested Koons to expose one thing about “Apollo,” his fee from Deste for the Slaughterhouse on Hydra. Produced in general secrecy, even Joannou had no concept what was once coming. “I feel I’ll stay {that a} marvel,” Koons responded.

“Wonder” doesn’t moderately seize the amazement with which passengers on boats nearing the island’s port greeted their first sight of the exhibition. There, at the roof of the Slaughterhouse, a stone shed perched on a bluff overlooking the Aegean Sea, was once a golden, double-sided wind spinner with the face of the Solar God, welcoming other folks to the island the way in which Woman Liberty does vacationers getting into New York Harbor. Considering of Koons’s fondness for garden embellishes, I noticed it was once additionally a large pinwheel.

I arrived an afternoon forward of the exhibition’s opening with Koons studio leader Gary McCraw and his different 1/2, Siri Kuptamethee, essentially the most trendy couple at the island that weekend. Koons was once on the Slaughterhouse, running with Marina Vranopoulou, Deste’s venture coordinator. She was once so fed on via the venture that she overlooked the hole of Dio Hora, her perfect new gallery atop an archeological web page as regards to the Acropolis Museum. “Technical issues,” she mentioned.

Right through the next day to come, the city full of an increasing number of other folks. Each and every unmarried resort room and AirBnB was once taken. Starting at sundown that night, the stable procession to the Slaughterhouse went on for hours. As other folks approached, I heard a dozen other interpretations of the spinner.

Jeff Koons’s Apollo wind spinner atop the Slaughterhouse.

“It’s the Fornasetti solar,” mentioned the artwork critic Brooks Adams. Someone else at the line noticed the Versace brand. “It’s Versailles—the Solar King!” exclaimed the French broker Jérôme de Noirmont, who performed a job within the 2008 Koons takeover of the palace. “No,” mentioned the broker Rebecca Camhi. “It’s the Famous person of Vergina,” an historical symbol that for a while has been the authentic logo of the Greek Republic. “We’ve all been so excited for the reason that scaffolding got here down,” famous a tender girl who labored at my resort. “Everybody in Hydra is coming right here.”

However no person, now not admirers or skeptics or the simply curious, was once ready for what Koons had in retailer. Within the 3 stalls out of doors the Slaughterhouse, which was once a running abattoir for a long time, have been a goat, a sheep, and a ram guarded via a tender guy dressed within the white toga of an historical senator. Was once this a efficiency? “I’m now not intended to speak to any person,” he mentioned. I requested for his identify. “Romeo,” he responded. Truly, it's.

Out of doors the door to the exhibition area, the place two in a similar fashion costumed feminine sentries have been posted, Koons was once nonetheless tinkering, rearranging asymmetric picket planks surrounding an previous worktable on which he’d positioned a number of items: a half-dozen faux, rhinestone studded Rolexes of the kind bought on Canal Side road (the place Koons shopped for readymades within the 70’s); a urinal and a bicycle wheel—nods to Duchamp and to Joannou, who owns an version of Duchamp’s Fountain—and the type of straight-back chair that includes in a seminal paintings of conceptual artwork via Joseph Kosuth, the artist who impressed Joannou—some other fabulous individual!—to determine a basis within the first position.

An exterior installation view of Jeff Koons’s “Apollo.”

I wasn’t positive what to make of a big plate of koulouri (seeded rolls) at the desk, so I requested Koons’s spouse, Justine, who was once lights a pot of sage. “That’s the Ethical Catch 22 situation,” she instructed me. “You must make a decision whether or not to assist your self or depart meals for others.” (The gaudy watches represented the similar warfare.)

Then I stepped inside of—and was once in Pompeii! Each and every wall was once frescoed within the taste of houses in that beleaguered historical town; patterned mosaic tiles coated the ground. Within the middle was once an eight-foot tall, polychromed nude (and anatomically right kind) determine of Apollo Kithara—Apollo with an antecedent of a guitar—benignly staring down as a threatening, animatronic python unwrapped itself from sculpture’s frame and lashed its tongue in other folks’s faces. Apollo could also be the god of therapeutic however, like maximum deities, may also be merciless. “That’s about his violence,” Koons mentioned of the serpent. For a couple of people, it additionally recalled the snake with which Ilona Staller, his ex-wife, carried out because the porn superstar Cicciolina. The Apollo determine, famous Vincenz Brinkmann, an archeologist and knowledgeable within the polychromed figures of the ancients, “accommodates a large number of information, however this one is going towards all expectancies.”

I was hoping the previous MOCA LA curator Paul Schimmel was once joking when he mentioned, “Is that each one there's?” However there was once extra. A recorded soundtrack of classical Greek choral tunes and pa songs via Britney Spears and Oasis floated in the course of the area. A reflected, silver “observing ball” the scale of a king’s globe of the earth was once out of doors at the balcony, reflecting the shed, the spectators, the ocean and the surroundings solar. And over the doorways have been smart phrases from Socrates, “Know thyself.” “Narcissism stops you on the gate,” Koons murmured. “Mirrored image is self-knowledge.”

Serpent and Maiden.

So, I mirrored—and learned that we weren't in Pompeii in any respect however in Plato’s Cave, the place phantasm turns into extra original than truth—a central guiding principle of Koonsian metaphysics for the reason that early ’80s in addition to the Baudriallardian conceit that as it should be diagnoses lifestyles on the earth as of late. “I’m going to be eager about this for years,” mentioned Sue Webster. “Have you learnt if Jeff has taken ayahuasca?”

All I do know is that, to begin with, he had me fooled. The mosaics have been actual however the “frescoes” scanned from a room within the Metropolitan Museum in New York and published on vinyl. An similarly practical pair of dangling Nike footwear became out to be painted bronze.

If spectators have been befuddled via Koons’s Disneyfication of Greek fantasy, in addition they loved it. Everybody was once smiling. No different artist who permitted this fee up to now has performed the rest to masks the Slaughterhouse’s cracked concrete flooring and peeling partitions, or the drain and chute that after swept slaughtered animals’ blood out to sea. For the ones people who were there sooner than, Koons’s general transformation of the distance right into a temple got here as a surprise. Even for naysayers who felt that Koons had “buried himself in ballerinas,” as one put it, it was once a revelation.

Cattelan paid Koons without equal praise. “Jeff,” he mentioned, “It’s a masterpiece.” The broker and previous Deste curator Jeffrey Deitch concurred. “For me, some of the biggest sensations possible is an stumble upon with a murals that’s utterly surprising and completely astonishing,” he mentioned, evaluating his revel in of “Apollo” to the 1992 debut of Koons’s Pet in Arolsen, Germany. “I’m completely amazed.”

So have been the folk of Hydra. Consistent with its mayor, George Koukoudakis, they wish to stay the wind spinner for the island. It would occur. A chum in Greece instructed me so. What that may imply for the way forward for the Slaughterhouse is any person’s wager. “I will have to switch the layout,” Joannou wrote in an electronic mail, including, “Jeff gave me a large provide via holding the venture secret. “The reward of First Enjoy, when mind and emotion transform one.”

As Gioni put it, “Jeff is a troublesome act to apply.”

Jeff Koons, Mayor George Koukoudakis, and Dakis Joannou.
Katerina Gregos.
Dmitris Daskalopoulos and Madeline Grynsztejn.
Katharina Fritsch.
Alanna Heiss and Marina Karella.
Angelo Plessas.
Brian Donnelly (KAWS) and Daniel Birnbaum.
Aphrodite Gonou.
Arturo Galansino and Achilles Tsaltas.
Camille Blatrix
Christian de Kjaerulf and David Morehouse.
Chrysanne Stathacos.
Denis Pernet.
Eugenio and Olga Re Rebaudengo, Nathan Clements-Gillespie.
George Economou.
George Vamvakidis.
Ilenia Durazzi with a Maurizio Cattelan work in Jouannou’s collection.
Jeff Koons.
Jessica Morgan.
Brooks Adams.
Lietta Joannou.
Massimiliano Gioni and Daniel Birnbaum.
Myriam Ben Salah.
Nadia Argyropoulou and Sylvia Kouvali.
Nicholas Yatromanolakis and Dakis Joannou.
Nicoletta Fiorucci.
Noema Kosuth and Joseph Kosuth.
Sandra Marinopoulos.
Shane Ackeroyd and Nicola Chu.
Sharif Farrag.

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Sheikha Mayassa al Thani and Farah Nayeri.
Valentina Castellani and Gianluca Violante.
Amy Cappellazzo and Joanne Rosen.
Andro Wekua.
Jeff Koons’s Apollo.
Brooks Adams.
Daniele Balice and Artemis Baltoyanni.
Evan Chow and Laura Skoler.
Frances Upritchard, Martino Gamper, and Martin Hatebur.
Jérôme and Emmanuelle de Noirmont.
Jerome de Noirmont.
Justine Koons.
Marc Glimcher and Fairfax Dorn.
Artist Maria Joannou at the opening of her show “Wet,” on Hydra.
Marina Vranopoulou.
Nadija Argyropoulou.
Philomene Magers.

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Siri Kuptamethee and Gary McCraw.
Slaughterhouse Maidens.
Sylvia Kouvali.
Vincenz Brinkmann.
Jeff Koons’s Apollo.