Your history, it’s not my story
ΕΝΙΑ GALLERY presents the solo exhibition «Your history, it’s not my story» of Artemis Potamianou.
According to Art Historian, Bia Papadopoulou: “Artemis Potamianou composes an environmental narrative on the female condition which unfolds in space and time. The defiance of social and artistic structures that characterizes her entire oeuvre continues to concern her as the exhibitiontitle, “Your history, it’s not my story” denotes.
The installation of a swing, immobilized in space, welcomes visitors providing them with the facts from the very beginning. The swing is accompanied by acarpet with the phrase “all in all” and a luminous industrial sign depicting theword “dream.” The concept of confinement evoked here is combined with the artist’s written information referring to the totality of female conditions, whichshe juxtaposes with the idea of the as yet unrealized dream of freedom and true equality.
The central exhibition area is metaphorically transformed into a cage that houses elaborate bird-cages which, in turn, host smaller cages. These images within the image, realities within reality, establish consecutive artificial worlds and layers of confinement. Sporadically placed iron railings, like fences or obstacles, reinforce the feeling of enclosure evoked by the“white cube.” The cages, cells of imprisonment, reminding of Michel Foucault’s Panopticon, function like items of division. They differentiate the inner from the outer field, trap viewers in the void intermediary gallery space while, at the same time, delineating labyrinthian routes of escape.
The strenuous manual wooden and thin metal rod constructions are inspired by elaborate bird-cages of by-gone eras that often faithfully reproduce actual buildings and mansions. Following the same line of thought, Potamianou deconstructs and then reconstructs existing buildings from the history of architecture in order to build new ornithological dwellings with dispersed historical references.
In paintings by old masters depicting cages and pet birds, the female iconography prevails, directly identifying the beautiful exotic birds with the fragile gender of women and with a peaceful domestic life. Potamianou suggests a reality different to the one portrayed in these idyllic scenes; a reality defying the social stereotypes that compose the classical mythology of women.
Appropriating the manly role of the curieux1, she infuses it with her own female substance. After extensive research she collects various objects from a plethora of different sources, choosing items directly associated with thefemale world. An antique children’s game, a pair of a girl’s velvet shoes,miniature doll’s house furniture pieces from different epochs, dried butterflies as symbols of the psyche, artificial trees, keys, a ballet dancer sculpture by Degas, standing clocks, hourglasses, metronomes, and revolutionary literary masterpieces that question women’s status-quo. In these dwellings, void of birds, Potamianou creates microcosms, three dimensional still-lives. The cages are transformed into Lilliputian theatrical scenes. Projections ofwomen’s conscious and unconscious. Files of archetypal memory.
The installation’s overall title Which side are you on? poses precisely this question. Addressed to both genders, the question stimulates thought, initiating a voyage into the depths of consciousness as well as the field of ethics.
One more environmental cabinet of curiosities is installed in a separate roomof the gallery space, hosting the last chapter of Potamianou’s feminist story.The environment converses with two top literary works of the 19th century: Le Chef-d’oeuvre inconnu (The Unknown Masterpiece) by Honoré de Balzac–whence the installation’s title– and Oscar Wild’s The Portrait of DorianGray.
Potamianou once again selects female figures from well-known paintings by Goya, Da Vinci, Vermeer, Cranach, Christus, Freud and others. She edits these initial images with the use of a computer, eliminating the color and selectively lighting up the mouth and hands, the most expressive areas, preserving however, their female identity. The result is printed on canvas, wrapped in transparencies and fastened with rope like the sheaf hiding ManRay’s sewing machine.
The imprisoned women flood the room’s entrance, functioning like an occult introduction to Potamianou’s last chapter. They compose the materia primaof her alchemical experiments from which emerge the genetically modified fragments of art history. Fragments that also inhabit this cabinet of curiosities.
Applying the same logic as with the cages, -in what consists of the artist’susual artistic practice- Potamianou appropriates artistic masterpieces; she deconstructs them on her own dissecting table and then reconstructs them anew. She pastes collage elements of physiognomic details deriving from well-known portraits of men on the original/printed female portraits.’’
Opening: Friday, 8 February 2019 at 20:00
Duration: 8 February until 4 May 2019
Wednesday – Saturday 12:00 – 17:00 Thursday – Friday 12:00 – 19:00
Address: 55 Mesologgiou str, Piraeus 18545
Tel.: +30 210 4619700
Media Sponsor: KROMA Magazine
Ikastikos Kiklos DL presents on Friday 15 March 2019 the solo exhibition « Dreamtigers » of Dimitris Mytas curated by Nina Kassianou.
Dimitris Mytas returns with a series of colour photographs, and Dreamtigers pledges to “try to re-approach what has been said already”. One wonders — is this what has been said by the photographer himself?
The curator of the show, Nina Kassianou, notes: “Once again Dimitris chooses to set up a dialogue among figures and places that form part of his daily life. After his recent Hospital and its monochrome, silent, hermetic and often melancholic images, the compositions this time adopt a colour palette which is seemingly lighter, combined with a playful mood and an ambience full of narcissistic hues. But that’s only seemingly, because once again Mytas is not in a state of serenity and relaxation. With his “disjointed”, non-articulated images Dimitris Mytas creates a fluid, deceptively random world with unexpected changes; a world at once dreamlike and disquieting.
Yet there is an invisible thread that links these images: running across the disjointed fantasy of his wanderings, among sober figures that stare boldly at the lens and the empty places around them, this thread forms and strengthens a stylistically and conceptually rigorous—medically rigorous, I would say—body of work. And while by mental association this work builds on his earlier ones, its new stylistic elements suggest that the photographer is moving on to new formal quests.
No matter what spatial context he opts for, what persons he decides to set in it and how he stages it, Mytas never abandons his autobiographic approach. Following step-by-step the photographic experience he has built over the years, he weaves, patiently and persistently, his relations with both his social and family circle and the environment in which he is called upon to live. And as all these keep changing, Dimitris builds and presents his new photographic worlds.”
Dimitris Mytas was born in Greece in 1970. He lives and works as a doctor in Athens. He has been creatively engaged in photography since 1992, and continues to train himself through reading, attending photography seminars and lectures and actively participating in photographers’ groups.
He has presented his work in five solo exhibitions in Athens and has participated in several group exhibitions in Greece and abroad.
He has published four photographic albums, and his works have featured in international photographic magazines.
Exhibition opening: Friday 15 March 2019 at 20:00
Duration: 15 March – 25 April 2019
Wednesday – Saturday 11:00 – 16:00
Tuesday – Thursday – Friday 11:00 – 20:00
Curator: Nina Kassianou
Admission to the exhibition is free.
Ikastikos Kiklos DL, 6 Akadimias St, Athens 10671, +30 2103646818-9
Media sponsor: KROMA Magazine
l … as love
Cube Gallery, inaugurates its collaboration with the artist Gefso Papadaki and hosts her solo exhibition entitled “l … as love”.
It is her second exhibition which is related to love, and the fourth in which the paintings are inspired by Greek poet’s lyrics, and it also constitutes the sequel of “Love Syllables”.
Art historian, Iris Kritikou, in a quote from her text “In the shade of poetry”, concerning the exhibition “Love Syllables”, wrote: “Gefso Papadaki is a “mighty reader”. Starting with her favourite poems and assisted by their internal reason, she paints without simply looking, but instead she perceives their soft vitals. Her paintings leaving behind the explanatory narration, calls the spectator to look within them”.
Yes my beloved
Long before I met you
I was waiting for you
And when we met for the first time-do you remember?
You spread your hands with tenderness,
Like you knew me for years
But of course you knew me.
Because before you enter my life,
You had lived in my dreams my beloved.
(Long before I met you, I was waiting for you – Tasos Leivaditis)
The lyrics taken by the poem of Tasos Leivaditis, “Afto to asteri einai gia olous mas (This star is for all of us)”, are not the only ones the spectator meets, in this interesting conversation between poetry and visual art creation in the exhibition “L…as love”. The images that are created are sensitive and magical, and how could they be different, when love works as a motive for the artist. It’s the love who revives, who gives you wings. The love which is the spark that becomes fire. Love which brings life in the world and love that cures. And who could imagine life without love!
In Gefso’s Papadaki works, love stories come and go, but in all of them love appears as a source of life, a life-giving eros that becomes love and affection, a love that isn’t completed and a love that disappears. Love … spelled or wordless, imaginable or alive, between the lyrics of Maria Polidouri, K.P.Kavafis, Giannis Ritsos, Tasos Leivaditis, Titos Patrikios and Maria Laina, becomes a game about love, which moves in circles. The limits between eros and love are hard to define and the reason is no other than the insignificance of their delimitation in this journey! And the journey of eros and love continues…
I wonder how desire
originates from nothing?
How desire become eros,
And how eros changes
into a distant memory?
I wonder how can a memory
die out into nothing?
(Kikliko, Titos Patrikios)
Born in Istanbul, Gefso Papadaki, graduated from Vakalo Art and Design College and she did further studies in Fine Arts, focusing on Drawing, Colour, Byzantine Icon Painting, Material Technology, History of Art and Sculpture Molds. She is a member of the Greek Chamber of Arts. She has worked on murals, stage paintings, book covers and has been teaching Art classes to primary school children. She has also been involved in arts creative activities for children with disabilities.
She is a columnist for the Kinsterna journal of Literature and Art and has published two painting related books. Her works are found in the collection of the Beijing National Gallery, in the collection of the Olympic Fine Arts 2008, in Beijing. Moreover in Moschandreou collection,in Hadjioannou collection, and other private collections in Greece, U.S.A, Belgium, France, Austria and Luxemburg.
She has participated in more than 100 exhibitions in Greece, Belgium, Lithuania, Romania, Slovakia, Turkey, France, as well as in the 23rd Art Fair, “Artist 2013” in Istanbul,
In 2008 she was among the artists that represented Greece in the 3rd,Beijing Biennale.
Gefso’s latest work is inspired by the lyrics of great Greek poets.
Opening: Thursday, the 21st of March 2019, 20.00 – 10.30
Exhibition Duration: 21 March – 13 April 2019
Tuesday, Thursday, Friday 10.00 – 14.00 & 18.00 – 21.00
Wednesday Saturday 10.00 – 14.00
Sunday & Monday closed
Address: 39, Miaouli str. Patra, Greece
Media Sponsor: KROMA Magazine
The scrambled papers theory
The exhibition The scrambled papers theory by Konstantinos Patsios will be presented in alma Contemporary Art Gallery between the 28th of March and the 4th of May, 2019. Konstantinos Patsios is featured in 5th issue of KROMA Magazine.
Konstantinos Patsios calls his new work “The scrambed Papers theory”. If the unconscious is structured as a language, the juxtaposition of his “Scrambled Papers” structres a new communication code. The double meaning of the title is also a word game, an idirect reference ot the Egg, as the conflation of the material in art with the flavour, and as the archetype of creation and birth. “My artistic work has to do with the creation of another body” the artist says.
“There is a psychonalytical dimension and an obsession with the automatic writing in the whole of my work. My work has to do with the random. Every little paper fragment of the city walls and every fragments of moments in my own life are transformed into a surealism that draws its force from the unconscious, adopts its unruly and free structure, expresses desires and fears through the language of the symbols and emerges through the logic of the dream, where everything is possible.
Louiza Karapidakis, the art historian, writes about the exhibition: “Konstantinos Patsios presents the latest unit of his works, mainly collages with combined techniques and overpaintings. This time he chooses large canvases. Thus, he has the opportunity to make good use of his morphoplastic values, skillfully combining ready pictures with his own interventions and compositions. He insistently uses recognizable motifs from classic works of the history of art, giving them new descriptive value through his additions and fusions.
People, landscapes and symbols, recognizable or insinuated ones, are enriched with his painted interventions and make historical references, invent commentations or create symbolic allegories. There are also plenty of autobiographic elements he gives, even using personal objects as points of reference and journal. The expression he uses himself to characterize his work is “submersion to the unconscious” because he systematically repeats the black element as an expression of the unconscious, the dream, the total void, the end, the death. It is also a tribute to the German romantic artists of the 18th century, sho brought to light unconscious phenomena, such as repressed emotions, automatic skills, hidden fears and desires. Patsios, with his recognizable writing, continually shapes new, timeless realities turning them into impressive visual formulations with multi-dimensional content”.
About the artist
Konstantinos Patsios was born in Athens, in 1977. He studied Economics and Law in the University of Pireus and in the Grand école de commerce in Poitiers, France. Later he studied painting at Athens School of Fine Arts with professors G. Psychopaidis and M. Spiliopoulos, sculpture with N. Tranos and then he continued his studies at Rhode Island school of design, Providence, U.S.A.
He has had 8 personal exhibitions and has participated in severla collective ones in Greece and abroad. We are mentioning selectively: “The lost Parthenon” , personal exhibition, curated by Leoni Gavria, Gallery Melkart Paris, (April 2016). “Μedea” personal exhibition, Positions art fair Berlin, Alma gallery (October 2015). “The Twisted Odyssey“, personal exhibition Underdog gallery, curated by Michaela Vergoti, London (june 2015), Blender gallery, Athens (April 2015), “The Divine Comedy“, Fizz Gallery, personal exhibition, curated by Alexios Papazaharias, Athens (April 2010). ReMap 2, “Sugar Mao” curated by Marina Fokidi, Athens (2011).
Opening: Thursday 28th March, 19:30
Duration: 28/3 – 4/5/2019
Curated by Louisa Karapidaki
Contemporary Art Gallery
Managing Director: Nikolas Almpanis
Art Director: Almpani Maria
Address: Ypsilantou 24, Kolonaki
Athens 106 76
F. +30 24310 74586
M.+30 697 77 15 842Site
Media Sponsor: KROMA Magazine
“Kanapes” Artworks that enhance the sofa’s fabric
According to the book «Greek Art from A to Z» artworld purists don’t approve of artworks that «instead of posing hard questions to the viewer, enhance the sofa’s fabric».
Curator Alexandra Kollaros, also the author of the book, singles out 18 artists she admires for their artistic skill and invites them to create artworks inspired by this statement.
The group show is presented at «9 ΕΝΝΕΑ» Cultural Space, between 28 March – 20 April 2019.
The exhibition’s title, an inside joke, winks mischievously at the audience. What should one expect in this case upon hearing the words «Artworks that enhance the sofa’s fabric» then;
Artworks you want to live with. Artworks you can recognize as actual artworks upon seeing them. Also, the type of artworks mosr people gravitade towards, when not in posession of a PhD in Art History and a cultural foundation of their own. Could we maybe say «approachable» artworks? A large portion of art professionals detest this concept. They deem it debases the high calling of art, the ultimate mission of which is to pose hard questions and trouble the viewer. This is one way of looking at it. Another way is to recognise that art is supposed to express feelings and ideas and moreover convey them in an immediate, easy to apprehend way. Otherwise it is not art, it is something else.
Most of us view our personal space as our very own shelter. We spend a lot of time in it and are very selective about what makes part of our environment; we certainly seek items that express our character, complete our vision and “add” to the space – beauty mostly, whichever way we may individually conceive it. This obviously holds true in respect to the art we select.
The truth is that the average person is not interested in reading a 17-page manual to understand what an artwork is about. Nor does he want to ornate his wall with a roughened-up piece of transparent paper set in place with yellowed sticky tape, and when «the artworlk examines the effect of western capitalism on the psychology of the urban dweller» one remains thoroughly underwhelmed. One more thing: art is precious for many reasons – it moves us, it beautifies, inspires, broadens our horizons, opens up our heart. Where did all these qualities go?
With the above in mind, the exhibition does not present works that get the viewer thinking through allegedly rhetoric questions and hypothetical meta-comments. It presents aesthetically impactful works of art, artworks that stir up feelings or capture you with their unique character, works that may even put a smile on your face. Artworks that have a lot to say but don’t screamingly extort our attention – instead they have figured out the way to convey their meaning in direct ways.
The artworks lean on the history of art throughout time, they draw from the past and the present, the ideas behind them are at times complex; they own the concept of the “concept”, but they are open to interpretation, without being attention-seeking or trying to enforce preset interpretations. The viewer is free to discover the works on his own and decide what he wants to take from this interaction.
Ioli Xifara’s floral extravaganzas, the teddy-bear totems of Iakovos Volkov, Demetra Marouda’s atmospheric portrait-landscapes, Ismini Bonatsou’s «Sierva Maria de Todos los Angeles» are some only of the works that invite the audience to build its own relationship with them.
The artists created these works with passion and deep knowledge of their trade and they present them to the audience to unravel their new life, through an open conversation without “terms & conditions”. The exhibition urges you to not be scared of art, to approach it and enjoy it.
Art belongs to everyone.
Featured artists: Ismini Bonatsou, Nikos Giavropoulos, Eleni Karadimou, Giannis Kardassis, Dina Koumpoulis, Yorgos Lintzeris, Demetra Marouda, Fotis Pehlivanidis, Kostas Spanakis, Maria Spyraki, Ariadne Strofylla, John Bicknell, Paraskevi, Shepard Fairey, John Valyrakis, Constantine Vraziotis, Iakovos Volkov (ΝΑR), Ioli Xifara
Artworks that enhance the sofa’s fabric
Location: «9 ΕΝΝΕΑ» Cultural Space, 9 Keas Str.Koliatsou Sq., Athens, GR
Opening: Thursday 28 March 2019, 20:00
Duration: 29 March – 20 April 2019
Visiting hours: Tuesday – Friday, 18:00 – 20:30, Saturday 12:00 – 15:30, or by appointment
Curated by: Alexandra Kollaros
Media Sponsor: KROMA magazine