Hello and welcome to Pali Room, a platform of recorded conversations, exchanges and offerings organized by Onassis AiR. My name is Danai Giannoglou, I am a curator, writer and former Onassis AiR fellow and today I'm particularly happy to welcome to the studio artist Paky Vlassopoulou, for what I'm hoping to be a conversation that will shed more light on her research and hopefully pull and follow several threads relating to it. I must admit that Paky is not only a dear friend, but also an artist I've worked with on many different occasions, so I like to think of today's conversation as the continuation of a discussion we started years ago. Welcome Paky and thank you very much for joining me. 

In this series of recorded encounters we speak with the participants of Onassis AiR to shed light on their artistic practices and needs, as well as to reflect on ways of being and working together. In this conversation, I am very happy to welcome Felipe Steinberg. Felipe is a visual artist whose work focuses on systems of representation through various media that explore the constructed meanings of the local and the global. Felipe is a participant of The School of Infinite Rehearsals Movement VII, with a collective research focus on economies through the lens of community economies. Today, we will discuss about invisible forms of labor and its redistribution towards an economy of care.

In this series of recorded encounters we speak with the participants of Onassis AiR to shed light on their artistic practices and needs, as well as to reflect on ways of being and working together. ​​Today, I am having a conversation with Marta Keil. Marta is a Polish performing arts curator, writer and researcher currently based in Utrecht. Her curatorial and research practice focuses on the potentiality of alternative processes of instituting and on redefining modes of transnational artistic cooperation. Marta is a participant of The School of Infinite Rehearsals Movement VI with a collective research focus on modes of governance through the lens of institutions. In this conversation, we draw from Marta's experience to discuss feminist approaches on instituting otherwise.

In this series of recorded encounters we speak with the participants of Onassis AiR to shed light on their artistic practices and needs, as well as to reflect on ways of being and working together. ​​In this conversation, I am very happy to be speaking with Theo Prodromidis. Theo is a visual artist and director based in Athens. Often the outcome of a socially engaged and participatory art process his work encompasses a variety of media, including film and installations that address the role of historicity and the power structures involved in the production of political subjectivities. Theo is a participant of The School of Infinite Rehearsals Movement VII with a collective research focus on the notion of community economies. Today, we will draw from his experience in autonomous practices of education to discuss ways of fostering an economy of care.

In this series of recorded encounters we speak with the participants of Onassis AiR to shed light on their artistic practices and needs, as well as to reflect on ways of being and working together. Today, I am having a conversation with Vladimir Miller, an artist, researcher, scenographer and dramaturg. His practice focuses on collaborative research, education and spatial organization through the development of spatial and institutional structures for artistic research and practice. As program and research curator at a.pass Vladimir creates multidisciplinary, collaborative spaces and project trajectories that encourage the production of self-organized environments of artistic practice. He is a participant of The School of Infinite Rehearsals Movement VI that centers around the collective study of governance with a specific focus on institutions. In this conversation, we discuss about processes of constructing spaces of collective learning.

In this series of recorded encounters we speak with the participants of Onassis AiR to shed light on their artistic practices and needs, as well as to reflect on ways of being and working together. In this conversation I am very happy to welcome virgil b/g taylor. With a background in public history and fine arts, Virgil's interest focuses on time and history and especially on moments of transition and histories of crisis and care through the use of various artistic media, including printmaking, film and installation. Virgil is a participant of The School of Infinite Rehearsals Movement VI with a collective research focus on modes of governance through the lens of institutions. Today, we discuss, among other things, about the notion of exclusion and access in instituting otherwise.