«As all my friends and students know, I have always been obsessed with family and personal memories, and it's not unlikely that this obsession has contributed to my love for photography.
When my father passed away in 1980, I realized that I knew very little about his younger years. However, to my great delight, while rummaging through his drawers, I discovered that the plethora of letters and memorabilia he had left behind somewhat filled that gap. Since then, I started collecting and organizing photos, videos, and letters.
So, it was a surprise to discover the other day this forgotten video recording about the Photo Space and the Circle. It was taken on June 13, 1999, at the Photographic Circle's meeting place in Tsakalof street, by me, without the presence of others and without any intention to use this recording somewhere. This is evident from the abrupt end of the recording when my phone rang.
A side benefit of this recording is that I realized how right Nana is when she says that I constantly stroke my bald head when I talk.».
Plato Rivellis
We are at Tsakalof street 44.
It is June 13, 1999, and I am beginning a record of a personal diary with memories from my life, unknown in purpose and utility. I simply believe that it is a necessity to write down a few things that I still remember.
Perhaps also a need to utilize my new video camera.
Let's then start with the first chapter that concerns me and primarily the photographic circle, and to remember a bit the conditions under which it was born.
My relationship with photography began around 1977, although earlier I took photos with love, with interest, using borrowed cameras from old classmates and friends like Katerina Manolopoulou, my beloved friend, a doctor older than me, Timos Tsitsis, and many others who were kind enough to lend me their cameras whenever I went on vacation or whenever, in Ano Herakleion in Attica where we had our summer house, we played with friends.
My relationship with photography began around 1977, although earlier I took photos with love, with interest, using borrowed cameras from old classmates and friends like Katerina Manolopoulou, my beloved friend, a doctor older than me, Timos Tsitsis, and many others who were kind enough to lend me their cameras whenever I went on vacation or whenever, in Ano Herakleion in Attica where we had our summer house, we played with friends.
And very soon I started teaching my friends around me, I will remember my first female students, my now wife Nana (Asimakopoulou then and now Karamagkioli), Eleni Zachariou, Foteini Zouraris, whom I gathered in my law office and they learned their first lessons.
In 1982 I made the big step of quitting law. Reducing my expenses at the same time.
I sold my car, an Alfa Romeo, buying instead a basement at Arachovis street 22, the studio I named Quark, which I hoped to shape into a personal studio with machines, flashes, backgrounds, various installations, etc.
Finally, I realized from those few lessons in the law office that I liked teaching and that I could perhaps find a little extra income and engage in something that interested me.
At that time they were seeking photography teachers at the TEI in the decoration department. I learned however that they wanted degrees, which I naturally did not have, resulting in turning after advice from Eleni Zachariou to the University of La Verne, which then had a branch in Kifisia.
Classes were mandatory in English. The students were all foreigners from Biafra, Cyprus, etc.
They accepted me there simply based on recommendation letters.
In the first round of classes, I had only 2 students. Nonetheless, I did it with reduced remuneration. In the second I had 16, because the first two sufficiently advertised me.
This university did not have facilities for a dark room, so the teaching of photography couldn't be properly conducted, and I granted my Quark studio, which by then had 5 enlargers, on Arachovis street.
The Quark studio, whose sign still exists today, was a place of companionship, a place where we had a lot of fun. Apart from the La Verne class, I started my own class. At first, the hours of the class were formal but the class lasted endless hours because we drank ouzo, laughed, got drunk.
The students paid a fee each time, if they did not come, they did not pay it.
Parallelly, however, I had to live and so I opened a store, the Photo Space at Tsakalof street 44. In a space that I had bought in 1980 with the last money from lawyering and after persistent pleading and encouragement from my former wife, Mary Tsouti.
And this space, which was originally our home, then became a home and a law office from 1980, to be transformed in 1984 into a photographic equipment store, the inauguration of which took place in November 1984 and lasted 2 days, during which half of Athens paraded through.
The store was very successful but had zero profits.
I blame myself.
Many friends, likeable and dear for years, trusted their money with me. Fortunately, not so much that it would be a torment for them, but enough to operate this space, which was operated with correct (let's say) commercial management, but not correct business management. I could never think about how I should buy and sell to minimize expenses and maximize profits. Instead, I thought about making a wonderful store like those I dreamed of and that the store would have a lot of clientele.
I achieved the second, not the first.
The name of the Photo Space, as the store was called, was christened by Christos Zouraris, one of the friends and shareholders of the corporation we had created. The others were Evangelos Nomikos, Nana (then Asimakopoulou, now Karamagkioli and my wife), Katerina Kalogeropoulou a friend from childhood, Giorgos Stefanakos, and Giorgos Koumentakis.
These friends then gave a sum with which we started, but we never managed to make profits and so after 6 years by mutual consent we dissolved this corporation, and closed the Photo Space.
Without much regret on my part, because I believe it had run its course.
I had fun at the store in the beginning. I enjoyed the purchases, I enjoyed setting up the merchandise, I really liked to sell, to talk with people. The reality of the market made me realize that either I was not cut out to be a merchant (most likely) or I was not right for that moment and those commercial conditions.
Perhaps a good businessman who would put in money and knew how to take money back should have taken over.
The Photo Space occupied me a lot in the first two years, but then I realized that it had no great hope.
I made the mistake of letting my beloved Nana bear all the weight of the Photo Space. It wasn't very honorable of me.
And I devoted myself more to the lessons, which I continued at the Quark studio and a little in the general supervision of the store.
Especially when from a point on, in 1987, I realized that this large store, the large space we had did not leave profits, I thought at least to downsize the space and the expenses, because in the large space that was the main store and the small one bought by Nana in 1986, which was initially a space for selling posters and cards and then an exhibition space, this space eventually became the Photo Space and the large store remained empty.
It is characteristic that in this small space where we put only consumables and very few things and which employed only 2 employees, we managed to have the same turnover we had in the large store, with the many employees. It was therefore commercially a correct move, but it had spoiled my mood, ambition, the charm of the large store, and the dreams.
Consequently, from the time it moved to the small store I almost ceased to be involved.
I tried to transfer it to a very good and dear friend and employee, Andreas Yfantis, but he did not have the spirit either.
And so gradually it was led to closure.
From the moment the small store was downsized, the issue arose of what would happen to the large one.
I always had an aversion to rents. Whether the rents that are paid or the rents that are collected.
I am very wasteful, yet, when I pay rent for a house it hurts me. And on the other hand, when I have my own space I want to play with it and do whatever I can to utilize it.
And so I thought about what I could do with the large piece, those 150 square meters that were the old store.
The idea had started after some discussions with friends at Quark, with a section from the good of 1987, to gather so we wouldn't lose each other, because Quark had proven that we could do classes, but that after the class suddenly it was very harsh after 4 months for everyone to leave and go home and lose touch. I didn't like that either, because I saw that the things I taught them, and which I still teach with few variations, are not understood in the four months. The student gets a scent but conversely needs a long period to work within them and to continue to photograph and for us to continue to be in contact.
But that was not feasible at Quark.
So I thought of making an association. My old legal experience reminded me that many associations had been made, which, however, were usually the friends of so-and-so, the friends of the theater, the friends etc. were not associations that were worked by people who utilized their creative ability.
I wanted it to be an association in which we all continue to work and continue to socialize.
The Photographic Circle was thus formed as an association.
A solution had to be found so that in this association, where all the movable property, as well as the space it would use, were mine, how I could have control, at least so that they wouldn't relieve me, wouldn't drive me from my duties and the members, at some point of malice. I applied then something that I had already done in many associations as a lawyer.
I made two types of members, the regular members who had the right to vote and the supporting members who were like all the others, but did not have the right to vote.
And so the members increased. Many were registered from the beginning.
But they did not have the right to vote in the assemblies and to drive me out or to change me or to change the basic operating principles.
The success of the association was very fast. A large number of photographers and people were interested.
But I was still searching to find its identity.
At first, I was charmed by the fact that there were so many of them. Later, I realized that what is important is to have a common language, not just a kind of union where everyone gathers, but to develop a common language which, necessarily of course, at least initially, I and my views defined.
Because I was the teacher, because I was the oldest, perhaps because I had the most knowledge in this field.
Gradually, through various ways, the most important of which was the gradual increase in the annual contribution, I managed to reduce the number of members. I realized that it was not simply important to have people sign up and be happy that the number was very large, but that those who agreed with certain basic principles of the Circle should remain.
The shop "Photochoros" operated alongside until 1990, when it permanently closed.
When the shop closed, the only substantial change was that the lesson, this seminar, which I continued to teach and which was the main yeast from which we drew new members and new photographers, was transferred to the much smaller space of the former downsized shop. The former "poster shop" and later the cafe gallery of Photochoros.
The classes were held twice a week, Tuesday with an exact repetition on Wednesday, because one day could not accommodate my then numerous students.
My reputation as a teacher had been established. After La Verne, I taught at various institutions. At the Moraitis School, where I taught in high school and junior high, at the Athens College for many years in high school, and in the college's evening classes that were aimed at adults, for three or four years at Panteion University, in the Department of Mass Media, at the Focus school where I taught for several years, and a very short period (2-3 months) at the Leica Academy.
Gradually, however, I realized that all this, while financially facilitating me, was not exactly the kind of lesson I wanted to do. And I was not addressing an audience that interested me. Most were interested in many other things and just wanted photography as a hobby, as a passing engagement. Conversely, those who came and come to my classes, to the Circle's classes, always had a very personal and lively interest in photography, and that kept me alert. I also found that when one teaches many hours a week, one puts on a bit of autopilot. And I said more or less the same things. I showed the same slides for convenience.
I had begun to institutionalize myself as a teacher and so I decided to reduce (again) my earnings and become a teacher who teaches those who want him, who ask for him, who pay him, who are not overshadowed by some school.
Indeed, even today, the day of my lesson is the best day of the week.
Although one might say that I say the same things, since for years my subject has been the same, but first, I never say exactly the same and second, I do not address exactly the same people, although I know that the queries and thoughts are roughly the same over the years.
The lessons in the smaller side space gave a breath to the large space.
But they forced me to repeat exactly the same, almost with a tape recorder, twice a week.
So at some point, we decided to clear out the space that was like the old gallery and to propose in this space a cafe and to remove the makeshift bar that we had in the main space. To remove, that is, both the fun and mainly the cigarettes and to transfer them to the smaller side space.
This gave me another possibility, to be able to accept and discuss with old members, old students in the cafe space, while formally they could not use and come to the meeting room. So today we have two distinguished spaces. The 26 square meters that is a cafe, bar, gallery, and a space for selling photographic items and books. Our commercial part if you want. In which anyone can come, whether they were a member or not, whether they are unrelated, and the main space of the association which is exclusively for the use of the members.
This seems to work better. In the large space of the meeting room, I teach my lessons. Now only every Wednesday. With much more people. And in this space, there is also the huge library. Huge for our standards and for international standards. It exceeds 3000 books.
And now the members have stabilized to just over 230 to which must be added the annually 100 new students of the seminars in these two cycles. From these 100 students who are considered probationary members of the circle for 4 months, when they finish the lessons about half of them are written for about the first year. Maybe even a little fewer.
And from these, half will stay the next year. That is, there is a small annual increase in the members of the association with a corresponding departure of some old ones who are no longer so interested in the Circle or in photography
And so these 230 are now serious members and are photographing and dealing with photography.
The finances of the circle have never been flourishing. As income, we have the contributions (supporting, regular, and probationary members). Now the regular members have increased significantly. I now have absolute trust in a very large number of people and so we appoint many regular members, provided they have stayed 5 years as supporters. Therefore, their relationship and their trust and their faith in the association have been proven.
At this moment I do not remember exactly, but from the 230 members, 50-60 must be regular. Which means that they are also old members, that they have stayed for years.
So the contributions of the members barely cover the current expenses of the Circle, without allowing any extra expenditure for some new plan, or anything.
A small contribution is the contribution of the chamber. Some contribution is the extraordinary seminars. And we seek private and public subsidies, which come with a dropper. But it seems that this is the price of any such effort that does not have a commercial goal and therefore does not look at the cost. Because we in the Circle surpass in quality and in offering the possibilities that the space has. Immediately there is a very, if you want, expensive space in the sense that it is in the center of Athens.
A space very well equipped in every way. With continuous renewal of the books, with very good quality offer and services.
Things that contributions, even if paid unceasingly, cannot secure.
However, the Photographic Circle after 11 years of operation has been established. It has become respected. Even if they do not want it very much for reasons of rivalry, still they admit it.
And the average level of photography that is done in the circle is exceptionally high.
But the prospects are all difficult. We have reached a high enough point, so that anything we want from here on to be expensive and extremely ambitious.
So I would say that it is time to lower the tones, to enjoy what we have achieved, and to improve a bit our personal photographic production.
From the Circle have passed, mainly indirectly through my own seminars, slightly more than a thousand.
Why have 230 remained since I think that these 1000, with few exceptions, appreciated the work that is done, respected my teaching, and generally would like to keep this space?
There are specific reasons, although not proven, which make me believe that a large portion of students have left and leave because they do not continue their involvement with photography. So the contribution may be logical for us, but excessive for someone who is not involved in photography.
Secondly, a portion of people left because they make a kind of photography that is not excluded from the statute of operation, like nothing, but does not enjoy the general appreciation of the members of the Circle. And I do not refer to a specific issue, I refer to a photography that has non-photographic extensions. If someone has an extremely artistic, extremely conceptual photograph, no one will exclude him, but he himself seeing a critical attitude of mine and many other members, not from some doctrinal position, but from a sincere aesthetic rejection, will gradually move away. He will feel, that is, that we do not express him. Certainly, because at this time the rejection has a more painful character, the reaction of most of these people is negative towards the Circle with a theorization of the reaction. That is, the Circle does not suit me, because it is snobbish, elitist, gerontocratic, narrow-minded, outdated. The Circle does not suit me because Rivellis has obsessions, is absolute, and so on and so forth. While in essence, it is simply an indirect critical rejection of his work. Obviously, they do not accept it, they cannot bear it.
A third category are those who succeed in the professional field, especially in fashion or journalism. There, of course, because the rules that govern the criticism of these photographs are different from those that govern the photographs we support, they find themselves in the dilemma of being simultaneously famous or good or notable in their professional field and slightly under judgment or slightly under question in the artistic within quotes space that is the circle. Neither can they bear this and perhaps they have no reason.
As a result, we have very few who excel in the professional field or live from photography and continue to be members of the circle. The large portion of the members are people between 25 and 35, who have decided that they are interested in photography for personal reasons and continue to be members, either from some friendship and as if to say that the circle is a part of their family, or their family, or from interest, because they are interested in following the library, they are interested in contact with this lively photographic space, or I do not know for what other reason.
Anyway, I would say that the most serious problem I face as a teacher and subsequently as a conversationalist of these photographers, is that on the one hand I believe that ambition is needed as a motive, on the other hand, this ambition most of the time escapes from the limits that should be kept and becomes a self-purpose, becomes a dominant purpose and leads these people to actions that reduce their photographic quality, their depth, their search, because they seek through photography a social recognition, a recognition, a projection or a fame. I would say that clearly fame is a much worse, and more usual bad counselor in photography, than money, which is also much more limited even for the glorious photographers.
I do not know if I have given as much as I can or if I have more to give or if I can evolve. I have tried these years both as a teacher and as president of the Circle to evolve and to think a lot about photography. I would like others younger to do it. It is not easy.
I believe that the younger ones, and especially those who have gone abroad, hence have proven that they are more interested, do not treat me as a bad father who disagrees with their opinions which are, let's say, more modern than mine.
But I am afraid that again their need, first, to "kill" the father, second, to innovate anyway, and third to exist socially and professionally against the rest of their own world or third parties or their family, make them to deal less with what the Circle is (with the value of the company and the exchange), but also with what means the photographic in-depth search.
I myself would very much like to come into contact with people who are older and stronger photographers. But also in any other area of the spirit and art that can help me with their observations, with their reprimands, to understand whether my teaching, my opinions or my own personal photography, are going well, are going wrong or where can be corrected. Honestly, I would be ready to adapt.
Unfortunately, there are not many such people in Greece today. Therefore, the people with whom I exchange opinions and who help me, are mainly my students.
This has something paradoxical, because it is a bit the taught teaching, but despite this, I draw from them and from our discussions, even the strong corrections of my work.
There are times when I feel the difference in age. There are times when I feel that the role of the "father" is not always the best. But for the time now I have it, I do not have another to exercise.
When I started my relationship with my students I was much more emotionally tied, much more entangled. I created entirely emotional and charged relationships, which of course most often ended in dramatic psychodramas.
Today I try to keep distances. To the point of exaggeration, but it is perhaps my defense.
I almost refuse. My mind closes and I do not learn the names of my students. I give them what I have to give. I know what I have to give. I almost try to ignore what they take.
I hope they understand (although they do not understand), but I accept that they understand and only after they have stayed a long time in the Circle I begin to open up and create relationships.
I would say that it is also an emotional defense, because the intervention of a person with my weight is great, and I do not mean the possible prestige, but the weight that my criticism has. Consequently, if I increase this weight with emotional charge, things are dangerous.
In the circle today are all my friends. Very few are outside the Circle. The Circle is a kind of family. It does not bother me that it is not more famous, it does not bother me that our photography is not more widespread. I would consider it suspicious to be more. I would consider it dangerous to be more famous. I like this rhythm.
It remains to think what else we are missing and what other developments there will be. I would like a communication with people from abroad, not for exchanges, nor for fame. I would just like to gain from some people who unfortunately do not exist in Greece. People of a photographic (and generally) level.
I would like those who remain in the Circle, this core of people that is increasing, to remain devoted to the Circle. I do not want to feel that the circle is a need of mine nor a game of mine.
I hope that many of the members share both my desires and needs, so perhaps the Circle will continue.
I don't know if it makes sense or what will happen if I die. Whether the Circle will continue beyond me. The future will show if there is a need for this.
Today, however, I realize that those who remain do need it.
And the Thursdays when we gather for critique. And in our occasional discussions, our excursions, our parties, and our seminars. The few steps we took every so often following collective decisions, in which my own influence was greater, such as our first group exhibitions of 600 photographs, were very significant.
Everyone fought us over the large number of photographers and photographs. Many in the Circle fought me too because it's very odd, but there are people in the Circle who say we shouldn't be so many, that there shouldn't be "such a low level in all portfolios or all presentations," implying that their level is always better than the others and that of course they are among the top ten, but the other fifty have no right to be.
Over the years I've developed a great deal of tolerance and patience and am happy with much less than they are. So, when we do exhibitions, my desire is to have as many photographers with as many photographs as possible and let the audience choose. These Biennales of the Circle, whether held at the Mill of Thessaloniki, the EAT ESA at the Athens Center of Arts, or the House of Cyprus, were always hugely successful, with large attendance and extensive newspaper coverage.
The other successful idea was the Thursday meetings that started many years ago and almost everyone comes on Thursdays, even if they don't know what to expect, to see photographs and to discuss.
There was an attempt for me to be absent on Thursdays to foster the initiative of the other members, but the majority did not want this. They asked me to be present because I act as a catalyst and often help to streamline the discussion.
And ultimately, the summer seminars that started by the Circle in August in Athens, moved to Paros where they remained for six years, and from this year we go to Syros.
These seminars should be incorporated into the reality of the basic seminar that is held twice a year in Athens.
I never want to impose or give the impression that I am trying to complicate things financially. However, I believe these seminars are absolutely necessary for the completion of the new photographer and I believe they have greatly helped the members of the Circle.
The idea of these seminars, like every idea I have implemented, is probably successful because it comes from specific needs and desires.
If I said I was going to do a seminar that would be incredibly popular, famous, and bring in a lot of money, I probably wouldn't manage to make it good. Doing a seminar that is, let's take it in order, the basic seminar. What is that? I pass on to people who are like I was at the beginning, what I learned.
That is, people who loved photography without knowing it, who applied it not professionally but with a passionate amateurism, that's how I was when I was a lawyer, and who want to learn what I learned on my own, faster.
I therefore pass on my knowledge, techniques that are not perfect and artistic that have developed through my own character over the years, I pass them on in a condensed form over four months.
I don't convey all the knowledge of photography. I don't teach history. I teach what I learned for my own needs how to easily and quickly pass it on to other people who may need it.
From there on, the summer course is again those who have learned these things and who still don't really know them, how they can escape from the complex, from the fear of photography and immerse themselves in the joy of the process.
And how this will happen under conditions that give us joy and not the feeling of compulsory work.
Thus, the summer seminar was shaped to be a gathering, dance, food, celebration, and a lot of work and a lot of discussion and at the same time movie screenings and at the same time exchange of opinions alongside critique, alongside work. That is, as we dreamed our life to be all year round.
To work, to create, and to have a good time.
This desire of mine takes shape for a few days in the summer seminars. The next steps we took as a Circle again had these desires as a thought. That is, if you want, life rewards what is done with sincerity and with a specific goal. Not with the desire to achieve a lot with one stone.
I believed that what interests me are books. Why? Because I learned photography from books. From books I loved Kertész, Bresson, and all those. So I thought it important to make books knowing that our work level isn't Kertész and Bresson but also knowing that it's significantly better than many of the books we have in our library. Thus we started these photographic series small, large. I know many dreamed of large ones. And I like the large ones. I'm not so humble as to want a small pamphlet. However, I knew that people who move from non-commercial criteria, as we do, it's good, if they can't make profits (which we can't), at least to reduce the loss, the damage, the expenses.
And so I promoted the idea of small books.
The small books therefore are not made because they will sell more, but because they will cost less.
On the other hand, a book is much better than a portfolio, an exhibition, anything, because it puts you into the international photographic literature.
You start and exist.
And secondly, you can show your work, albeit in prototype form, to many more people, who will enjoy, who will understand what you are doing.
Few will understand you, few will recognize you.
My own books had again a very specific purpose.
That's perhaps why they were relatively successful books. They served specific needs. My first book was the need for notes.
The second book was the need to put these views of mine into written text with the same casual and verbose way I have when I speak. The third book was a kind of comments on the history of photography.
The period was my desire to take a small break and show my work so far without illusions, without the idea that I somehow deserve it, but with the need to certify that I am not just a scholar, a writer, a verbose, a teacher, but also a potential creator.
The small booklets were to enhance the path of the other small books. That is, when my students and friends and members of the Circle produce small books, and I with them in the same sizes.
As for the dance book, it was simply a way to help my first wife by leaving her some samples of her choreographic work.
My life from here on has directions that are, although related, almost chronologically exclude or complicate each other.
My responsibility as president of the Circle is not only organizational, not only financial, but is also a driving wheel.
I'm still afraid that if I stop, the life and flow of the Circle will begin to decline. I'm afraid that if I stop meddling in the critique of the photos, instead of helping the independence of the photographers, the seriousness I want this collective effort to have will stray.
I'm forced to deal with the projection of exhibitions or the creation of exhibitions, although it's not something that pleases me. The exhibitions have a social event aspect that finds me opposed as a person, as a character. That is, if you want, my snobbery is such that I wouldn't want to need the public. I would like the exhibitions to take place in a very small circle.
On the other hand, it is very good both for me and for all photographers to exhibit their works. It is an outbreak, an overcoming, and a communication.
The part that tires me more is whenever it is necessary to find money either for advertisements or for our beleaguered magazine.
Also, whenever I need to come into contact with people for social reasons who are either indifferent to me—I'm not saying that I don't appreciate them—who consume time from my life, but contact is necessary for the promotion of the ideas of the circle and the plans of the circle. This if you want is the most negative part of my life.
On the other hand, I immensely enjoy all the texts I write about photography and that are published in the News or elsewhere. I have many ideas for new books, new books. Both photographic and theoretical.
Time and financial inability prevent me from progressing them. I would like many of my texts and those of the Circle to be translated (but that too is a cost) so we can have better communication with foreigners and friends who have the same thoughts.
I would like more people to travel here, to be able to invite, to communicate with the world.
I would like the good photographers of the Circle to insist a little, to work a little more.
Not to be amateurs as far as this part is concerned. To be amateurs in terms of love but not in terms of the ease of the minimum possible time.
And of course, I would like to photograph more.
I have many ideas, many thoughts, but I think that people with my abundance may never do something very well. Now I'm recording a movie, tomorrow I'll write an article, and the day after tomorrow maybe another.