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Can you hear the sirens moan

Opening: 21 November 20.00-23.00

Duration 22-24 November

Opening hours: 11.00-20.00

Cutator: Ioanna Gerakidi

Snehta Residency presents the group show "can you hear the sirens moan" with Anat Propper Goldenberg, to kosie and Peter Max Lawrence.

Intersectionality is a lens through which you can see where power comes and collides, where it interlocks and intersects.

Kimberlé Crenshaw

"can you hear the sirens moan" is a group show looking with and thinking across intersectionality as a means for reaching otherness, for transforming, altering, acting and interacting with our surroundings. It is an exposition of what resides unheard, invisible, a-rhythmic. It’s a collection of traces and remnants of various processes of labour, of reminiscences often neglected, dismissed, stigmatized.

The exhibition aims on giving a voice to these inherent qualities of the artwork, on allowing them to occupy time and space, when the works are in a fragile state of becoming. It intends to disrupt the syntaxes and automations of the art system through rejecting the finalized, fixated form. The artworks as concrete (non)-objects, theses and systems, are being replaced by a composition of materials, liquids, words, failures and experiments.

Emily Roysdon reframes the theoretical concepts of intersectionality when talking about Ecstatic Resistance. She writes that “Ecstatic resistance develops a positionality of the impossible as a viable and creative subjectivity that inverts the vernacular of power”. The traces of the works exhibited try to touch and be touched by this impossibility. They act as intersessors participating in art’s systemic frameworks, whilst longing for their change. They let personal narratives and collective histories to exist otherwise, they re-arrange institutional terms, re-invent time structures. They re-act morphing a current with their willful presence, creating a stage for being together, for exchanging sentiments, knowledges, attitudes, performing selves, wounds, breaths, kisses.

Nataša Petrešin-Bachelez traces intersectionality as a methodology on “how to resist from within oppressive systems, such as the art market, the institutional art world, the cycle of fame”. "can you hear the sirens moan" becomes a haptic animation of such a thesis, espousing its politics and poethics, borrowing a term from Denise Ferreira da Silva's theory, for its materialization.

"can you hear the sirens moan" is an exhibition striving for a politicisation of the idiolect.

“I am looking for the body, my body, which exists outside its patriarchal definitions. Of course that is not possible. But who is any longer interested in the possible?"

Kathy Acker

*the title is borrowed from "Don't Let It Bring You Down", a song by Neil Young

The show will be accompanied by a series of performances and readings by the artists.


hit n hug, performance by to kosie, venue, to be announced, 18:00-19:00

hit n hug looks closely on art labour as a practice of giving by pushing it to its limits. Its structure draws in three phases, to talk about practices of hosting, gifting, welcoming, whilst concurrently accepting the anger, the insecurities, the tiredness that such gestures imply. In the first phase, the artist is exposing its relationship with the material. A relationship full of closeness, resentment but also care. Creating an object becomes an practice that evolves through the hugs and hits, through the interaction with another entity, through losing both entities on the way. The object created through the connection is a twisted, restrained, floating post-capitalistic body.

Yet the art labour is never enough. Artists are always expected to give more and more. In the next phase to kosie destroys the object, it lets go of everything that happened before. The process circularly reaches its end, only when it finally gifts pieces of the object. to kosie does so espousing the pain of loss, the anger of never ending expectations, the fear of being used, but also the hope that the material fragments of the process will generate togetherness between its holders.


TEMPERED BREATHE, perfornace by Anat Propper Goldenberg,Church of St Theresa, 32 Eptanisou str, Kipseli, Athens, 17:00 - 17:30

TEMPERED BREATHE is a work about waiting. Waiting for someone, waiting for something. Praying and waiting.

Staying active in the time of waiting, which is supposed to be a passive act.

Snehta would like to thank Felipe Katotriotis for his technical support and contribution in regards to screen printing methods.

About the artists:

to kosie's works revolve around materiality of crisis. The nickname ‘to kosie’ and pronaun 'it' is a gesture of giving up on the privilege of being a person. to kosie considers engagement with the materials as a base of an interaction, which remains are usually sculptures and videos. Recently it is looking for post-capitalistic body, working with giving as an alternative for expoiting, rethinking collaboration and artists' labour. to kosie was exhibited at the Main Project of 6th Moscow International Biennale for Young Art, Pori Biennale III, The Festival of Political Photography in Helsinki, Gallery Labirynth in Lublin, Rietveld Pavilion in Amsterdam and many more.

*to kosie's residency was partly financed by TAIKE - The Arts Promotion Center in Finland

Anat propper Goldenberg, (b. 1971, London) is a multidisciplinary artist.

Peter Max Lawrence is an artist, filmmaker and in[ve]stigator. Born in Topeka; adopted soon thereafter and raised in Kansas City, Kansas, he currently lives and works in San Francisco, California. Over the course of his life and career, he has created a large and diverse body of work, exploring a wide variety of approaches, media and themes. Lawrence’s visual art, performances and videos have been presented internationally in venues ranging from basement bathrooms to major museums. QUEER in KANSAS is his critically acclaimed autobiographical short film that screened at Frameline and several other international film festivals. In addition he has also directed music videos for Carletta Sue Kay and Krystle Warren. Currently he is the curator for The One, 1903, and Art Thieves as well as developing a slew of collaborations with other musicians, artists and writers.

With the support of the Outset Contemporary Art Fund (Greece)

Communication Sponsor:


"can you hear the sirens moan"

Εγκαίνια: 21 Νοεμβρίου 20.00-23.00

Διάρκεια: 22-24 Νοεμβρίου

Ώρες λειτουργίας: 11.00-20.00

Επιμέλεια: Ιωάννα Γερακίδη

Το Snehta Residency παρουσιάζει την ομαδική έκθεση "can you hear the sirens moan" με τις Anat Propper Goldenberg, to kosie και Peter Max Lawrence.

Intersectionality is a lens through which you can see where power comes and collides, where it interlocks and intersects.

Kimberlé Crenshaw

Η ομαδική έκθεση "can you hear the sirens moan" προέρχεται από και εξετάζει την έννοια της διαθεματικότητας ως μέσο για την προσέγγιση του Άλλου, ως εργαλείο για τις διαδικασίες μετασχηματισμού, δράσης και διάδρασης με το περιβάλλον. Τίθεται ως ένας τρόπος παράθεσης εκείνου που δεν έχει ακουστεί, που επιλέγει να παραμείνει άρρυθμο. Είναι μία συλλογή από ίχνη και υπολείμματα προερχόμενα από διαφορετικές διαδικασίες εργασίας, μία σύνθεση από μνημονικές επιστροφές που έχουν απορριφθεί, στιγματιστεί.

Η έκθεση στοχεύει στο να δώσει φωνή στις παραπάνω εγγενείς ποιότητες ενός έργου, να τους επιτρέψει να καταλάβουν το χρόνο και το χώρο, όταν το έργο βρίσκεται στο εύθραυστο στάδιο του γίνομαι. Αποσκοπεί στο να διαταράξει την σύνταξη και τους αυτοματισμούς του συστήματος της τέχνης απορρίπτοντας την τελική (ως τέλεια), την εμμονική ενίοτε φόρμα. Τα έργα ως σταθερά (μη)-αντικείμενα, θέσεις και συστήματα, αντικαθίστανται από μία σύνθεση από υλικά, υγρά, λέξεις, εγχειρήματα και αποτυχίες.

Η Emily Roysdon επαναπλαισιώνει θεωρητικά σχήματα της διαθεματικότητας, εισάγοντας τον όρο Εκστατική Αντίσταση. Γράφει: «Η Εκστατική Αντίσταση αναπτύσσει μία θέση για το ανέφικτο ως εφικτή, βιώσιμη και δημιουργική υποκειμενικότητα που αντιστρέφει την καθομιλουμένη της εξουσίας». Τα ίχνη των έργων που εκτίθενται ανακαλύπτονται στην προσπάθεια τους να αγγίξουν και να αγγιχθούν από αυτή τη δομή του ανέφικτου. Δρουν ως διαμεσολαβητές που συμμετέχουν στα συστημικά σχήματα της τέχνης, ενώ παράλληλα επιθυμούν την αλλαγή τους. Επιτρέπουν σε προσωπικές αφηγήσεις και συλλογικές ιστορίες να υπάρξουν διαφορετικά, αναδιοργανώνουν τους θεσμικούς όρους, επανεφευρίσκουν τις δομές του χρόνου. Αντιδρούν, σχηματίζοντας ένα παρόν με την επιμονή της παρουσίας τους, δημιουργούν ένα πεδίο συνύπαρξης για την ανταλλαγή συναισθημάτων, γνώσεων, διαθέσεων, πληγών, ανάσεων.

Η Nataša Petrešin-Bachelez ανάγει τη διαθεματικότητα σε μεθοδολογία για το πώς «αντιστέκεσαι εκ των έσω σε καταπιεστικά συστήματα, όπως η αγορά και το θεσμικό πλαίσιο της τέχνης, όπως ο κύκλος της δόξας». Η έκθεση "can you hear the sirens moan" αποτελεί την απτή απεικόνιση μιας τέτοιας θέσης, ενστερνιζόμενη την ποιητική της για την υλοποίηση της, προσπαθώντας για την πολιτικοποιήση της ιδιόλεκτου.

“I am looking for the body, my body, which exists outside its patriarchal definitions. Of course that is not possible. But who is any longer interested in the possible?"

Kathy Acker

*ο τίτλος προέρχεται από ένα στίχο του Don't Let It Bring You Down, τραγούδι του Neil Young

Η έκθεση θα συνοδεύεται από μια σειρά performances.


hit n hug, performance από την to kosie, ο χώρος θα ανακοινωθεί σύντομα, 18:00-19:00


TEMPERED BREATHE, perfornace από την Anat Propper Goldenberg, Ναός Αγίας Θηρεσίας,

Επταννήσου 32, Κυψέλη, Αθήνα, 18:00 - 18:30

Το Snehta θέλει να ευχαριστήσει τον Φελίπε Κατωτριώτη για την τεχνική του υποστήριξη στη μέθοδο μεταξοτυπίας μέσα στα πλαίσια του προγράμματος residency.

Με την υποστήριξη του Outset Contemporary Art Fund (Greece)

Χορηγός Επικοινωνίας for free

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