Empty Pr(oe)mises is an unusual curatorial project. It straddles the complications of the financial crisis, political upheavals, as well as the curatorial and aesthetic crises that befell the arts trapped between multiple social conflicting needs. All the artists responded to an international curatorial call by Lanfranco Aceti and Katerina Koskina and were selected by an international committee (Lanfranco Aceti, Bart De Baere, Lilian Haberer, Katerina Koskina, Barbara London, and Monika Szewczyk). The project examines, through the curatorial perspective and its related struggles, the complexities of making art in fraught political and financial environments. It also explores if there are alternative forms of institutional collaborations that might empower both artists and curators. The artists have responded to the brief of the project and created artworks that could be installed in the temporary space of the EMST in Athens, but that could also be installed and displayed in other parts of the world. The brief of the project was, in fact, to offer visibility to artists and their project at a time of crisis.
Elena Ailes, Argh Team, Simon Banos, Simon Belleau, Tom Bogaert, Peter Broeren, Jon Burris, Josephine Callaghan, Ben Clement, Jay Critchley, Diogo da Cruz, Fernando Egido, Judy Freya Sibayan, Zoe Hatziyannaki, Fanis Kafantaris, Anni Kaltsidou, Marina Kassianidou, Devon Knowles, Andreas Kopp, Misha Kuball, Thom Kubli, Makis Kyriakopoulos, Marion Inglessi, Maria Lalou, Paul Landon, Hoffman Lambertus, Lazar Lyutakov, Nikos Makaroumas, Tony Maslić, Anastatias Mastrakouli, Rehan Miskci, Sarah Mohr, Simonetta Moro, A-Dash Niederhauser, Kosmas Nikolaou, Spiros Panagirakis, Artemis Papachristou, Lambros Pigounis, Helene Lundbye Petersen, Caroline Pradal, Tianyu Qiu, Oliver Ressler, Willem Jan Smit, Candice Smith Corby, Matthew Sperdakos, Natascha Stellmach, Anastatias Stratakis, The Office of Ideal Discovery, Norbert Tóth, Thodoris Trampas, Peter Tuka, Shinji Turner-Yamamoto, Lydia Venieri, Anna Walker, Richard Whitlock.