Skip to content

The Myth of Europe and its Appropriation
Annetta Alexandridis & Verity Platt 

Video

Please note that this video is available in English.

Annetta Alexandridis and Verity Platt talk about the contemporary appropriation of ancient forms and motifs from different perspectives. In doing so, they also draw on various ideas and works from the exhibition Europe: Ancient Future. Annetta Alexandridis refers to the myth of the origin of Europe, linking to the robbery of Europa and thus taking up the central motif of the ancient temple façade, through which the building of the HALLE FÜR KUNST Steiermark was transformed into the Grazean Temple of Europa for the duration of the exhibition. Alexandridis proceeds from a feminist perspective and examines the representation of the female body within the ancient worldview. Verity Platt takes up the works of Oliver Laric in the exhibition to address the ancient formal language in connection with its mediality and technical reproducibility. On the one hand, Platt shows how artists reappropriate ancient motifs using digital technologies and then reinterpret them through 3D printing processes, algorithmic imaging, and AI. On the other hand, she also focuses on the social use of ancient motifs and how they spread in fashion, politics, and even within dubious groups.

Dr. Annetta Alexandridis is Associate Professor in the departments of History of Art and Classics at Cornell University. She holds an MA and PhD in Classical Archaeology from the Ludwig-Maximilians-Universität at Munich. Her research and publications focus on representations of the body – human and animal – in ancient Greece and Rome, the iconography of Greek myth, Roman female portraiture, Roman funerary culture, the modern reception and historiography of ancient art, and the media of archaeology, especially photographs and plaster casts. She also is a member of the Harvard-Cornell Archaeological Exploration of Sardis in Turkey. Before joining Cornell she taught at Rostock University and worked at the Antikensammlung Berlin. She has held fellowships at Harvard’s Center for Hellenic Studies in Washington, D.C. and Cornell’s Society for the Humanities.

Prof. Dr. Verity Platt also works at Cornell University, New York in the Department of Classics and Art History. Her research and publications focus on ancient theories of representation and sensory perception; media and intermediality; the historiography of ancient art (especially Pliny the Elder); and Greek literature in the Roman Empire. She previously taught at the University of Chicago and received her PHD in Classics from Oxford University, as well as a post-doctoral research fellowship. She has held fellowships at the Institute of Advanced Study (Princeton), the Franke Institute for the Humanities (University of Chicago), the Society for the Humanities (Cornell), and the Atkinson Center for a Sustainable Future (Cornell).

More contributions

Exhibition Tour
Celina Eceiza: Ofrenda

Video

A metabolic force governs the growth of Celina Eceiza’s work, which involves textile collages, sculptures, paintings and drawings — both tiny and colossal in scale — as laborious as they are elementary. The artist combines handcrafted textile techniques and processes such as patchwork, found object collages and, more recently, chalk pastels, which give her images a new sense of fluidity. 

Ausstellungsrundgang Celina Eceiza

Annemarie Arzberger
dreamed awake

Slide show

For HALLE FÜR KUNST Steiermark the artist has developed her first own performative presentation, with a setting for her puppets with three scenes set in an imaginary spaceship, an exhibition, and the spaces that the scenes depict: the Schlouflaboar, the Houloudecks, and the Space Grotto Disco. The piece is a combination of physical theater and puppetry, performed by the artist together with her sister Katharina Arzberger and accompanied by musical interludes arranged by Manuel Obriejtan.

Slide Show Annemarie Arzberger

Diego Bianchi
Errores Irreales

Slide show

Diego Bianchi (*1969 Buenos Aires, lives in Buenos Aires) is considered one of Argentina’s leading artists and has, in particular, updated the concept of sculpture. For his installative and performative exhibition Errores Irreales at HALLE FÜR KUNST Steiermark, Bianchi has assembled a selection of his sculptures that play with the concept of the body.

Slide show Diego Bianchi

Celina Eceiza
Ofrenda

Slide show

Ofrenda [Offering] presents a way of inhabiting a space as if the architecture were a body, breathing erratically, changing states as you pass from one room to the next. The rigidity of the building collapses as the walls are draped in thousands of metres of fabric joined together through the collective and timeless action of sewing, until they form a single smooth surface, sensitive to the slightest change.

Slide show Celina Eceiza

Abaseh Mirvali
Artistic Director, viennacontemporary 

Video

The conversation between Abaseh Mirvali, director of viennacontemporary, and Sandro Droschl spans Diego Bianchi’s current exhibition and Celina Eceiza’s work in the context of Argentine art history to Mirvali’s many years of expertise and her international career. At the same time, her central role in the dynamic and innovative viennacontemporary 2025 was highlighted.

Abaseh Mirvali Talk

Morning Séance
alias Simone Borghi 

Video

Italian composer and sound artist Simone Borghi, alias Morning Séance, expands Celina Eceiza’s soft museum” in her exhibition Ofrenda at HALLE FÜR KUNST Steiermark with his atmospheric, constantly changing music, using his musical performance to enable visitors to experience physicality, space, and perception in new ways. 

Morning Séance alias Simone Borghi