Mark Adams | Bonita Alice | Ralph Anderson | Rachel Ara | Henry Badrick | Akiko Ban | Molly Behagg | Vivienne Boucherat | Rebecca Byrne | Michael Callaghan | Alessandro Carboni | Jake Clark | Charlie Coffey | John Crossley | Suzanne de Emmony | Dolores De Sade | Bella Easton | Liz Elton | Alessandra Falbo | Anna Garrett | Mikey Georgeson | Tommaso Gorla | Julia Hamilton | Chris Hawtin | Samuel Herbert | Lesley Hicks | Kaori Homma | Mandy Hudson | Hannah Hughes | Lisa Ivory | Leo Jahaan | Lee Johnson | Nikki Johnson | Katherine Jones | Georgia Keeling | Tabitha Knight | Nektaria Lampitsi | Maggie Learmonth | Maria Letsiou | Rachel Levitas | Gabrielle Lockwood Estrin | Lee Maelzer | Colin Maitland | Sao Mangrai | Darren Marsh | Zoe Martin | Annalaura Masciave | Rebecca Meanley | Jessica Nina Mello | Aki Moriuchi | Junko O’Neill | Sarah Pager | Simon Parish | Iris Plaitakis | Tim Ralston | D J Roberts | James Rogers | Albeiro Rojas Tomedes | India Roper-Evans | Naz Shahrokh | Ed Simpson | Jon Solaun | Joseph Stokes | Michael Stubbs | Dolly Thompsett | Marianne Walker | Charlie Warde | Grant Watson | Sarah West | Samantha Wolf | Eileen White | Samuel Wray-Easton
For the 2015 Platform Projects @ Art Athina, LUBOMIROV-EASTON invited a large number of international artists to send a letter to Greece. The only restriction on artwork was that it must fit inside an A5 envelope – a size which represents a single fold in the standard A4 letter size. Rooted in a tradition of postcard shows, such as the annual ‘Secrets’ at the Royal College, as well as referencing mail art and the New York Correspondence School, this format has the advantage not only of simplifying freight, but crucially of allowing a larger number of artists to be shown together. Thus the show was conceived as a kind of communal artwork, a joint letter from one community of artists to another, to be assembled on site from hundreds of individual pieces. It is the nature of Platform Projects, as a gathering of international artist-led organisations, which are each other’s audience as much as the visitors to the fair, that made this form of address to other artist communities possible.
The participating artists had complete freedom to interpret the 148×210 mm envelope space and there are no restrictions made on contents: whether the work is a postcard, a letter, or poster; whether painting, drawing, or sculpture; any object was allowed, including digital media such as a CD, DVD, or memory stick, or anything else that could be mailed and survive the postal journey there and back. There were no thematic restrictions either, and the resulting collection was intended as a broad snapshot of practices and ideas. It is then the role of the curator and the viewer to search out signs of a common language, which may perhaps exist, or be perceived to exist.