Lito Kattou

Collective bodies yet to be shaped in District 17 group show at Berlin’s Kraupa-Tuskany Zeidler, Jan 20 – Feb 23

18 January 2018

The District 17 group exhibition is on at Berlin’s Kraupa-Tuskany Zeidler, opening January 20 and running to February 23.

Curated by Gabriela Acha, Sarah Johanna Theurer and Catherine Wang, the show includes work by Jesse Darling, Mia Goyette, Lito Kattou, Shaun Motsi, Johannes Paul Raether, Jenna Sutela and Bruno Zhu. The works create a dialogue in which a “scenario of encounters for collective bodies [are] yet to be shaped.”

There will be a performance by Kattou on the opening night (and an after party at Kudamm Karree), a performance by Raether on February 10 and readings by Darling and Sutela on February 23.

Visit the Kraupa-Tuskany Zeidler website for details.**

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In search of the perfect landscape: wandering voices in Lito Kattou’s Night Fight at Eleni Koroneou Gallery, Dec 1 – Jan 27

29 November 2017

Lito Kattou presents solo exhibition Night Fight at Athens’ Eleni Koroneou Gallery opening December 1 to January 27.

For her first solo show in the space, Kattou will present new works which “explore her fascination on the ontology of flatness and its potentiality to articulate volume, on different processes of embodiment and transfigurations of time and materials.” Gesture and materiality come together through metal ‘warriors’ made of aluminium, minerals, steel, textile and plastic.

The press release includes a text by the artist that muses on shady times, where bodies wander “in the pursuit of the perfect landscape” and the perpetual struggle of the concept of ‘perfect’ both sets us in motion and stasis.

Visit the Eleni Koroneou Gallery website for details.**

Lito Kattou, ‘Fighting with the Sun’ (2017). Performance view. Photo by Paul Maheke. Courtesy clearview ltd, London.
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The boundary between awake and sleep. Kaleidoscope dreams in And if I left off dreaming about you? at Like A Little Disaster

17 July 2017

The And if I left off dreaming about you? group exhibition at Polignano a Mare’s Like A Little Disaster, opened June 18 and is running to August 18.

The show includes work by Stine Deja, Gioia Di Girolamo, Motoko Ishibashi, Lito Kattou, Botond Keresztesi and Maurizio Vicerè – Vice,  and explores “the boundary between awake and sleep within the technological, visual and iconographic landscape in which we are now immersed,” where the idea of originals and fiction are thrown into a ‘kaleidoscope effect.’

 The installation allows the sculpture, video, painting and other media to bleed into one another, creating a conversation between the disparate yet connected practices and works. The show also coincides with the first issue of Robert Mansueto’s editorial project takecare, which includes contributions by Dorota Gaweda and Egle Kulbokaite, Lito Kattou, Rada Koželj and Lucia Leuci.

The And if I left off dreaming about you? group exhibition at Polignano a Mare’s Like A Little Disaster opened June 18 and is running to August 18.

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At home with the clearview crew at the blurred border of Tottenham’s ‘Artist Colony’

8 February 2017

“It’s difficult to say if the project space is taking over the house or the house is taking over the project space,” write the members of the clearview collective, an artist residency, and exhibition and event series, opened last year in the North London suburb of Tottenham. Founded, run and lived in by MA students Canan Batur, Cedric Fauq, Joss Heierli, Nilz Källgren, and Filip Zezovski Lindh, the independent initiative “dedicated to the vision of invited practitioners” began as most do, through conversation. It’s a discussion that started in 2015 and then ended in an inauguratory ‘housewarming‘ at their location on Fountayne Road that featured the likes of  Jaakko PallasvuoSophie Hoyle, and Victoria Sin, among others. Next there was Lito Kattou’s ‘Fighting with the Sun‘ performance and installation that opened last month, with Jala Wahid’s Shahmaran to come, on February 9.

Lito Kattou, ‘Fighting with the Sun’ (2017). Performance view. Photo by Paul Maheke. Courtesy clearview ltd, London.

The space exists as a place for people to live and work, supported by the five founders, curators and long-term residents, in an area, once known for being central to the 2011 London riots, now a site of rapid urban development. clearview’s organisers, that include some artists with their own interdisciplinary practices, as well as day jobs — a dog-walker and baby-sitter, a bartender, a builder, and a real-estate agent and occasional drummer — acknowledge their place within what some call “The Artist Colony” of Tottenham Hale. Its curators, who have explored transience in pop-up exhibitions in apartments, high street shops and shuttle buses, exist as a community of outsiders in an area, navigating their own role in as creatives in redevelopment. As space becomes scarce, while the London art remains vibrant, clearview aim to establish themselves as a means to stay present on the ever-tightening edge of art. 

**Tell us a bit about your ethos towards live/work; is the project a reaction to anything, and/or a repercussion of surviving as artists in london?

clearview: Because we live in clearview, our lives revolve around the project space. They are embedded in our professional responsibilities towards clearview. But I guess we manage to make the most out of this — we are super flexible in terms of installation and we can welcome people anytime. It’s difficult to say if the project space is taking over the house or the house is taking over the project space — but we like to play on that thin line. This is actually what our inaugural project was all about. clearview is probably less cold than other project spaces. You feel at home here. It is also in line with our residency program. Hosting people means a lot to us. When we work with artists, we often live with them — whether they are in residency or not — just because they are in our house and share our living space. We are quite privileged in having the possibility to do this — and the idea is, indeed, to make other people enjoy that privilege. By giving artists space to not only showcase their work, but also to produce. The whole idea of the residency is to support artists to expand their practice. At clearview, Lito Kattou developed her first performance work for instance. That being said, we are not the only space in London operating that way: Greatorex or Lima Zulu are also live/work project spaces.

Saturday 19 November (2016). Exhibition view. Courtesy clearview ltd, London.

**How did the collective come together? Did it grow organically out of a shared vision for this project or was the project a by product of the collective/friendship?

cv: clearview was a product of the idea of collectivity, friendship and shared vision, all together. We have enjoyed spending time together, having long discussions and working on various projects at the same time. But mainly, we appreciate each other’s drive, passion and intelligence. We can say that it was an organic continuum without feeling alienated by the notion of ‘working. We respect each other’s ideas, and we evaluate each proposed project, respectfully. This allowed us to grow together with the space, in terms of our relationship and professional approach.

**Your first show brought together a huge amount of artists in an inauguratory event, and the premise was based on the “host and the hostile,” can you talk a bit about your interest in this tension?

cv: We’re obviously aware of our position here, in Tottenham Hale, which, since the 2011 riots, has been increasingly subject to redevelopment plans and social cleansing. On Fountayne Road, where we are located, the community is historically called “The Artist Colony.” This is a strange label. What does this mean? We don’t question straightforwardly the fact that we are part of the ongoing gentrification happening in here, because we’re not sure of what we’re provoking or what we are part of yet. The big picture is still blurry. But we’re researching, informing ourselves.

Through our programme, we are not claiming anything but the desire to establish a ground for claims. The idea of “host and the hostile” comes from that. The reason why we propose clearview as headquarters comes from the desire to be more inclusive in the area without pretending that we are changing the conditions we are surrounded with. In order to be effective in a certain area, things need to be more procedural and that demands time and integration. Us, as people coming from different countries and having an uncertain time period with clearview, cannot synthesize Tottenham Hale’s landscape, it would be pretentious of us to do so. We only push ideas forward and try to create a harmony with the place we are in.

Saturday 19 November (2016). Installation detail. Courtesy clearview ltd, London.

**I noticed you run an AirBnb. Is this the same thing as your residency, or does it support the residency financially?

cv: Airbnb is a tool for us to generate income for the space to provide a budget for our projects. Since we are still full-time students, we needed to find a way to invest without losing too much and use what we have. We think that, giving artists a place to stay, to display, and to work and a supporting budget is important to expand the stage we are providing.

**Your manifesto states “clearview is not a game.” Expand?

cv: It came out from one of our regular meetings, when we were working on creating the programme. Whilst we take what we are doing seriously, we also care about having a laugh. “clearview is not a game” represented the feeling when an idea materialises.**

Jala Wahid’s Shahmaran solo exhibition is on at London’s clearview, running February 9 to March 5, 2017.

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I Would’ve Done Everything For You… @ The Plug, May 27 – 28

25 May 2016

The I Would’ve Done Everything For You / Gimme More! apartment group exhibition is on at London’s The Plug, opening May 27 and running to May 28.

Hosted by “The Velvet Aphrodite, The Laser Cupid & The Angry Eros” and curated (with love) by Cédric Fauq, the event features work by 19 “✭ Showrunners ✭”, including  Adam Saad, Paul MahekeLindsey Mendick, Marguerite HumeauPaloma Proudfoot, and Raju Rage among others.

The exhibition announcement comes accompanied by a title insinuating an unequal give-and-take arrangement, partly inspired by Britney’s Spears single Gimme More, released on the US pop star’s infamous 2007  Blackout album, and an excerpt of the lyrics credited to its songwriters Danja, Jim Beanz, Keri Hilson and Marcella Araica.

There will also be text interventions by Georgia René-Worms and Zach Soudan, and posters by Nithin Karivardhan.

See the FB event page for details.**

Adam Saad, 'Cruis(IN) Portal (Dreamlover) I & II' (2015) Install view. Courtesy Arcadia Missa, London.
Adam Saad, ‘Cruis(IN) Portal (Dreamlover) I & II’ (2015). Install view. Courtesy Arcadia Missa, London.
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Athens Dry Deal @ Cantina Social, Aug 23

21 August 2015

Athens Dry Deal, a one-night multi-work screening will take place at Athens’s Cantina Social this Sunday, August 23.

Organised by Death Dealer, a collaborative project between Valinia Svoronou and Olga Papadimitriou, the screening will take over the peculiar yard/bar found in the centre of the Greek city, showing works by 29 different artists.

Some of the participating artists include Iain Ball, Sarah BoultonMargarita Athanasiou, Cristine Brache, Crim3s, Cassandre Greenberg, Georges Jacotey, Lito Kattou, Hannah Le Feuvre, Kimmo Modig, and Ulijona Odišarija.

See the FB event page for details. **

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