Katerina Iliopoulou is a poet, artist and translator, who lives and works in Athens.
Karaoke Poetry Bar, Athens Biennial 2007 (co-organizer)
Thessaloniki Biennale 2009 (performance with the project Poet's Machine)
Νorth Wales International Poetry Festival 2012
Greece is the word!, South Bank Center London 2013
Sofia Poetics 2014
LIWRE, Lahti, Finland, 2015
“….an imagery of exceptional intensity which evokes a constructed jungle. But the poems’ epicenter is located somewhere else, at a void which is unbearable to the senses, one which this poetry is astutely aware of and which it mollifies with a consistently paganistic use of language. This courageousness, transplanted from the existential into the poetic, with linguistic preciseness and due self-constraint, so that the poems are kept open-ended, is among the virtues of her poetry.’
“ in her quest for quintessential sparseness, Iliopoulou exposes the means by which the gaze of perplexity, or aporia, becomes a speech that is variegated and aenigmatic.”
“A poetry which is seductive and transparent yet decidedly dense, to the point of being aphoristic, with perfect competence in the rhythms of language and in the ritual resonance they may have for the reader.”
Patricia Kolaiti was born in Athens in 1976 and grew up in the island of Aegina.
Poetry, and more generally Art, involves a certain way of ‘seeing’, a certain modality of thought, in which an object is not just mentally projected but conceived and constructed afresh as a new coined object during the very action of vision. What I refer to is essentially a special kind of creativity that I term perspectival thought and ‘hold responsible’ for the underlying sense during the entire 20th century that Poetry/Art makes visible the invisible, brings into being something that did not exist before by re-arranging and enriching an existing world of possibilities.
Based on: Patricia Kolaiti 2008, ‘The Poetic Mind: Literariness and Essence’.
Dimitra Kotoula was born in 1974. She studied Archaeology and History of Art at the University of Ioannina, Greece and the Courtauld Institute of Art, London. Her first book of poetry, Three Notes for a Melody, appeared in 2004. She has translated, among others, selected poems by Louise Glück, Jorie Graham, Sharon Olds. Her poetry and translations were included in various modern greek poetry anthologies and journals.
*Dimitra Kotoula sometimes uses first-person and sometimes third-person narrative to forge an idiom that combines a visual perception of the immediate, tangible environment with a kind of lyrical transcendence of the world of objects as well as a purely acoustic record of the senses (Vangelis Chantzivassiliou, literary critic).
* A lyrical voice deprived from any sentimentalism or aestheticism without, however, lacking in warmth or beauty (Katerina Iliopoulou, poet).
*The inner polyphonic monologue in Three Notes for a Melody by Dimitra Kotoula may not dissociate the reader from his traditional and time-honoured relation with the printed work, however, it does tell us that novelty can know refute relations and ideas that up till now we thought immutable (Alexis Ziras,literary critic).