Christina is an international multidisciplinary London-based artist, freelance curator and educator. She is known for constructing provocative narratives and poetic ensembles of idiosyncratic institutions through manifold processes of vintage book-sculpture, drawing, screen-printing, and productions of site-specific installations - for example 'The Secret School' a ‘living’ project which was housed at a WWII bomb shelter just before the London bombings of 2005, ‘Add To My Library’ a major international Book Art project Initiative and touring exhibition in Europe and UK. She is the founder of Bibliographic Data Flow, an ongoing systematic methodology and autonomous reference library, performed as an interactive meta-library designed to provoke changes in the material book while de-institutionalising it in the process.
With an A. Onassis foundation fellowship, Mitrentse awarded an MFA and P.G dip. from Chelsea College of Art & Design and PGCE from University of Greenwich London. She has exhibited extensively in solo and group shows in galleries, museums and public spaces including Liverpool Biennial UK, XV Biennale de Mediterranean Thess/niki-Rome, ICA London, NDSM-werf Amsterdam, Macedonian Museum of Contemporary Art, State Museum of Contemporary Art & CACT Thessaloniki /Greece, Nadine Feront Gallery Brussels, Departure Foundation London, London Art Fair- Dalla Rossa Gallery London, Royal Academy, The Stephen Lawrence Gallery, Mitte Gallery Barcelona, Central Booking NY, The Centre for the Book Arts NY and Brussels Art Fair. Her work has been profiled and reviewed in major publications including Art Monthly, InteRartive, Athens Voice, Book Art magazine, Macedonia paper, Close Up, Time Out London, AN magazine, Hackney Gazzete, In/flux, Frieze.
Mitrentse's artworks have been acquired by private & public collections including Fine Art Society London, Greenwich Council, The Women’s Arts Library Special Collections, Bank Street Arts Centre, Sill Library Bath, Mol’s collection Holland, Tate Archive, Penguin Collectors Society, Zabludowicz Art, Griechische Kultustiftung Berlin, M. Altenman NY, National Library in Bagdad, Onassis Foundation, Benaki Museum and E.Venizelos Airport Athens, Beltios and Karathodoros collection.
Curated exhibitions include, Limbo Stack Unit24 gallery London, LINEAR B, international production of artworks in response to Nikos Alexiou Collection at Stephen Lawrence gallery, London. 'Salon Vogue', at Vogue Fabrics, London. 'Celestial Contrakt', at Schwartz Gallery London. 'Who Cares About Greek Art?' at Zois projects-Athens. Awards include:
- Swedenborg Society London 2013
- Salon Art Prize 2010
- Matt Roberts Foundation, 2000
- Hellenic Art Award
- National airport El.Venizelos, Athens, 1997
- 4th Heineken Art Macedonian Museum of Contemporary Art
Mitrentses’ Artworks can be found at Nadine Feront Gallery Brussels, The Eagle Gallery London, Hang-Up Pictures London, The Residence Gallery London, Argentum Gallery London, and Depo Darm Athens, Lola Nikolaou Gallery and The Apartment Greece, Central Booking NY, as well as various spaces in UK and EU. www.christinamitrentse.com
Within an obsessive cultural context of hypertexts, e-learning and digitization, Christina Mitrentse’s on-going international project Add To My Library, reflects linear processes of collective narratives. Initially Inspired by Walter Benjamin’s writing ‘Unpacking my library’ and by provocateur British artist John Latham, among other reference points, ‘ATML’ alludes to an infinite META-LIBRARY.
An idiosyncratic institution, questioning among others the fragility of transmission of knowledge in the current educational and socio-political persecution as it is experienced within the global crisis. Mitrentse confronts the viewers with an array of humorous meditations on materiality, by appropriating books from her collection. A montage of radical philosophy, popular novels, science and art books have been defaced, twisted, cut and stuck together, hand sanded and carved, meticulously transformed into organic sculpture series of small scale ‘Tombs’, ‘Plinths’, ’Fungi’ and ‘Bibliophiles’.
Their sculptural formulation raises questions regarding de-materialisation of the art object and the hierarchies of educational institutions, yet they provoke viewers to explore relationships between the social purpose and the cultural significance of ‘the book’ as foreboding container for the distribution of knowledge and subjectivities. Mitrentse is ultimately building an heterotopia of her own, as a result, she initiates a post-museum for books that are symbolically “disabled” or “dead”.
|58. Union Jack
||Handpulled screen-print, limited edition of 10, signed